SHAKESPEARE'S 

VI EASE ] \ J t F R M E A S U RE, 



W)I,L)AM T. ROLFE 



fiRRARY OF CONGRESS 

■lllllilil 

0001=1^05560 



Books 
of 11 a. m 

The Li 
4 p. m. 




n the hours 
9 a. m. till 



authorized to 



ed to file with 
Department, 

le name of the 



1. The e 
borrow hoo 

2. Befor 
the Lihrari 
or of the Bi 

3. No he 
borrower shall have been registered by the Librarian. 

4. Of works of single volumes only' one at a time may he borrowed ; of works 
of two or more volumes two may be taken. 

5. The period of a loan of books is for two weeks, and borrowers are strictly 

Exhibited from lending books thus drawn to other persons, whether of the 
epartment or not. 
G. Borrowers wishing to retain books for a longer period than two weeks, 
may at the close of the second week renew the loan for an additional two 
weeks. 

7. The loan of a book will be renewed but once. 

8. Books classed as "Works of Reference/' or marked in the Catalogue 
with an asterisk (*), cannot be taken from the Library. 

9. When a book has been injured while in the possession of a borrower, it 
must be replaced by a perfect copy. 

10. Application for and ret urn of books must be made in person, except in 
eases of sickness or absence from the city. 

11. Books returned will not be reissued until they have been examined and 
replaced upon the shelves. 

12. When a book has been retained by a borrower beyond two weeks without 
renewal, its price will be certified to the Disbursing Officer of the Department. 
and deducted from the salary of the person withholding it. 

13. Writing on the leaves or covers of books, and the folding or turning down 
of their leaves are strictly prohibited; violation of this rule will debar employ es 
from further privileges of the Library. 

14. In selecting books from the shelves care must be used in handling them, 
replacing those not drawn on the shelves from which they were taken ; the 
number of the shelf may be ascertained from the label above. 

15. Employes, on quitting the service of the Department, must return all 
books in their possession belonging to the Library. Final payment of their 
salaries will be withheld by the Disbursing Officer until he is satisfied that all 
books charged against them at the Library have been returned. 

16. For infringements of any of the above rules the Librarian is authorized 
to suspend or refuse the issue of books to the culpable persons. 

By order of the Secretary : 

GEO. M. LOCKWOOD, 

Chief Cleric. 
(13599— 10 M.) 




THE SHAKESPEARE HOUbE KESTOKEU. 



SHAKESPEARE'S 

COMEDY OF 

MEASURE FOR MEASURE. 



Edited, with Notes, 



WILLIAM J. ROLFE, A.M., 

FORMERLY HEAD MASTER OF THE HIGH SCHOOL, CAMBRIDGE, MASS. 



WITH ENGRA VINGS. 




NEW YORK: 

HARPER & BROTHERS, PUBLISHERS, 

FRANKLIN SQUARE. 
1884. 






ENGLISH 


CLASSICS. 


Edited by WM. 


J. ROLFE, A.M. 


Illustrated. i6mo, Cloth, 56 cents per 


volume ; Paper, 40 cents per volume. 


Shakespeare's Works. 


The Merchant of Venice. 


The Taming of the Shrew. 


Othello. 


All > Well that Ends Well. 


Julius Caesar. 


Coriolanus. 


A Midsummer-Night's Dream. 


The Comedy of Errors. 


Macbeth. 


Cyinbeline. 


Hamlet. 


Antony and Cleopatra. 


Much Ado about Nothing. 


Measure for Measure. 


Romeo and Juliet. 


Merry Wives of Windsor. 


As You Like It. 


Love's Labour 's Lost. 


The Tempest. 


Two Gentlemen of Verona. 


Twelfth Night. 


Timon of Athens. 


The Winter's Tale. 


Troilus and Cressida. 


King John. 


Henry VI. Part I. 


Richard II. 


Henry VI. Part II. 


Henry IV. Part I. 


Henry VI. Part III. 


Henrv IV. Part II. 


Pericles, Prince of Tyre. 


Henrv V. 


The Two Noble Kinsmen. 


Richard III. 


Venus and Adonis, Lucrece, etc. 


Henry VIII. 


Sonnets. 

Titus Andronicus. 


King Lear. 


Goldsmith's Select Poems. 


Gray's Select Poems. 


Published by HARPER & 


BROTHERS, New York. 


5£3^* Any of the above works will be se 


it by mail, postage prepaid, to any part 


of the United States, on receipt of the price. 



ljISuifftr 

jun &4m 



Copyright, 1882, by Harper & Brothers. 



/5-/S*W 



CONTENTS. 



PAGE 

Introduction to Measure for Measure 9 

I. The History of the Play 9 

II. The Sources of the Plot 11 

III. Critical Comments on the Play 16 

MEASURE FOR MEASURE 35 

Act I 37 

" II 5* 

" HI 74 

" IV 91 

" V 109 

Notes 129 




THE MOATED GRANGE. 



INTRODUCTION 

TO 

MEASURE FOR MEASURE. 



I. THE HISTORY OF THE PLAY. 

Measure for Measure was first printed in the folio of 1623, 
where it occupies pages 61-84 in the division of" Comedies." 
It was not entered on the Stationers' Registers, and is not 
mentioned by Meres in T598. No direct allusion to it in 
Shakespeare's time has been found, and we have nothing to 



IO MEASURE FOR MEASURE. 

fix the date of its composition but the style and versification, 
with some minor points of internal evidence. The critics, 
however, have generally agreed that the play was written in 
1603 or early in 1604. 

Tyrwhitt and Malone conjectured that the following pas- 
sages offer "a courtly apology for King James I.'s stately 
and ungracious demeanour on his entry into England :" 

" I '11 privily away. I love the people, 
But do not love to stage me to their eyes. 
Though it do well, I do not relish well 
Their loud applause and aves vehement" (i. 1. 67 fol.). 

" The general, subject to a well-wish'd king, 
Quit their own part, and in obsequious fondness 
Crowd to his presence, where their untaught love 
Must needs appear offence" (ii. 4. 27 fol.). 

Ward (Hist, of Dram. Lit. 1. 408) is "inclined to accept this 
conjecture, the more so that there is something in the senti- 
ment of these passages not ill according with the tendency 
towards shrinking from an unnecessary publicity, which we 
may fairly suppose to have been an element in the poet's 
own character." 

Malone also saw historical allusions in i. 2. 4: "Heaven 
grant us its peace," etc.; and in i. 2. 77: "What with the 
war, what with the sweat," etc. James had early announced 
his intention of ending the war with Spain which was in 
progress when he came to the throne, and peace was con- 
cluded in the autumn of 1604. The year before, as Capell 
pointed out, the " sweating-sickness," or plague, had carried 
off more than thirty thousand people in London, about one 
fifth of the entire population of the city. 

In the first speech of iv. 3, among the ten prisoners men- 
tioned are four "stabbers" and duellists; and, according to 
Wilson the historian, the " roaring boys, bravadoes, roysters," 
and like characters had become so disorderly in 1604 that 



INTRODUCTION. Y 1 

the "act of stabbing" (i Jac. I. c. 8) was passed to restrain 
them. 

Fleay (Manual, p. 46), by his metrical tests, confirms this 
assumed date of 1603. He says : "This play is the central 
one for the metre of the third period • it has more lines with 
extra syllables before a pause in the middle of a line than 
any other. It is freer in rhythm than any play of the first 
and second periods." 

Furnivall, in his classification of the plays (see our ed. of 
A. Y. Z. p. 25), puts Measure for Measure among the plays 
of the poet's "third period" (1601-1608), and dates it in 
1603. He includes it with Julius Casar and Hamlet in the 
"unfit -nature, or under -burden -failing group," which he 
makes the first subdivision of that period; adding in expla- 
nation that " the prison-scene, where Claudio's nature fails 
under the burden of coming death, is the centre of the play." 
Tieck, followed by Ulrici and some other critics, was led 
by the peculiarities of style and sentiment to regard Measure 
for Measure as one of the very latest of the plays ■ but, as 
Verplanck remarks, " the drama, in those very characteris- 
tics on which the theory is founded, most resembles Othello, 
Lear, the revised Hamlet, and in general those tragedies 
known to have been written between 1602 and 1607 ; while, 
on the contrary, its tone and fancy are entirely dissimilar 
from the pastoral beauties of the Winter's Tale, with the 
sprightliness of its gayer scenes, or the spirit of cheerful en- 
joyment which breathes in the mountain scenes oiCymbeline, 
both of them known to belong to a later period than that of 
Lear"* 

II. THE SOURCES OF THE PLOT. 

" The story, like that of Othello, comes originally from a 
novel of Cinthio, the Italian novelist and tragic author. He 

* Compare what Dowden says of the tone of the latest plays in Shak- 
spere: his Mind and Art, p. 358 fol. (American ed.) and in the ShaksA 
Primer, p. 54 fol. 



pere 



I2 MEASURE FOR MEASURE. 

was a prolific relater of dark and bloody stories, which have 
yet such an air of reality as to give the impression that he 
drew his materials, like Scott, from domestic traditions or 
legal records. Shakespeare had also the same plot in Whet- 
stone's tragedy of Promos and Cassandra (1578), founded on 
Cinthio's novel. But he owed very little to either predeces- 
sor but the outline of the story, and some slight hints or cas- 
ual expressions. It is evident that, in such a case, a previ- 
ous tragedy on the same subject, instead of lessening Shake- 
speare's claims to originality, greatly increases them, as it 
imposed on him the new difficulty of avoiding many obvious 
images and ideas which must arise to every writer handling 
the same incidents. Nor was Whetstone an author of so 
low a rank that he might be safely neglected in this respect, 
and his materials used without injustice or plagiarism. On 
the contrary, he was, though inflated and extravagant in 
style, and deficient in the power of interesting or exciting 
his readers, a writer of learning and talent. He followed 
Cinthio very closely, in making the sister (the 'woful Cas- 
sandra' of his play, the Epitia of Cinthio, and the Isabella of 
Shakespeare) yield to the governor's desires and her broth- 
er's pusillanimous sophistry — a degradation which Shake- 
speare has avoided by the introduction of Mariana, and the 
very venial artifice of Isabella, which Coleridge censures, but 
which is certainly, if a blemish at all, a very light one com- 
pared with the intrinsic repulsiveness of making the heroine 
the wife of the guilty governor, and the supplicant for his 
life. The inferior characters of Whetstone are the same 
only in their habits and occupations — the painting of their 
character is Shakespeare's own as much as that of the no- 
bler personages, and the high moral wisdom which overflows 
in their dialogue. Isabella, as a character, is entirely his 
own creation. . . . 

"The probability of the plot has been objected to, but cer- 
tainly without any reason ; for it singularly happens that we 



INTRODUCTION. I3 

have historical evidence of the occurrence of three or four 
very similar crimes, in different ages and countries. One of 
these is the well-known story of Col. Kirke, in the reign of 
James II., half a century after Shakespeare's death ; another 
occurred in Holland, a century before his birth, under Charles 
the Bold, and has lately been related from the old chroniclers, 
with all their antique simplicity, by Barante, in his delightful 
Histoire des Dues de Bourgogne. Another of these Angelo- 
like abuses of power is said to have taken place under one of 
the old Dukes of Ferrara, and this may have been the actual 
foundation of Cinthio's tale. Shakespeare, whether he was 
acquainted with the original or not (as his use of the book 
in Othello indicates that he was), had the story before him, as 
Whetstone, a few years after the' publication of his play, trans- 
lated and published it himself — retaining, however, the names, 
and interweaving the thoughts of his own drama. It is con- 
tained in his Heptameron of Civil Discourses (1582), and 
has been reprinted in Collier's Shakespeare 's Library. He 
has also accompanied his own tragedy with an analytical ar- 
gument, which will enable the reader to compare Shake- 
speare's management of the plot with that of his predecessor : 
" ' In the city of Julio (sometime under the dominion of 
Corvinus, King of Hungary and Bohemia), there was a law, 
that what man soever committed adultery should lose his 
head, and the woman offender should wear some disguised 
apparel during her life, to make her infamously noted. This 
severe law, by the favour of some merciful magistrate, be- 
came little regarded, until the time of Lord Promos' author- 
ity, who, convicting a young gentleman, named Andrugio, of 
incontinency, condemned both him and his minion to the ex- 
ecution of this statute. Andrugio had a very virtuous and 
beautiful gentlewoman to his sister, named Cassandra : Cas- 
sandra, to enlarge her brother's life, submitted an humble 
petition to the Lord Promos. Promos, regarding her good 
behaviour and fantasying her great beauty, was much de- 



I4 MEASURE FOR MEASURE. 

lighted with the sweet order of her talk, and, doing good that 
evil might come thereof, for a time he reprieved her brother; 
but, wicked man, turning his liking into unlawful lust, he set 
down the spoil of her honour ransom for her brother's life. 
Chaste Cassandra, abhorring both him and his suit, by no 
persuasion would yield to this ransom. But, in fine, won 
with the importunity of her brother (pleading for life), upon 
these conditions she agreed to Promos — first, that he should 
pardon her brother, and after marry her. Promos, as fear- 
less in promise as careless in performance, with solemn vow 
signed her conditions ; but, worse than any infidel, his will 
satisfied, he performed neither the one nor the other ; for, 
to keep his authority unspotted with favour, and to prevent 
Cassandra's clamours, he commanded the gaoler secretly to 
present Cassandra with her brother's head. The gaoler, 
with the outcries of Andrugio, abhorring Promos' lewdness, 
by the providence of God provided thus for his safety. He 
presented Cassandra with a felon's head, newly executed, 
who (being mangled, knew it not from her brother's, who by 
the gaoler was set at liberty) was so aggrieved at this treach- 
ery, that, at the point to kill herself, she spared that stroke 
to be avenged of Promos ; and devising a way, she concluded 
to make her fortunes known unto the king. She (executing 
this resolution) was so highly favoured of the king, that forth- 
with he hasted to do justice on Promos ; whose judgment 
was to marry Cassandra, to repair her erased honour ; which 
done, for his heinous offence he should lose his head. This 
marriage solemnized, Cassandra, tied in the greatest bonds 
of affection to her husband, became an earnest suitor for his 
life. The king (tendering the general benefit of the com- 
monweal before her special case, although he favoured her 
much) would not grant her suit. Andrugio (disguised among 
the company), sorrowing the grief of his sister, betrayed his 
safety and craved pardon. The king, to renown the virtues 
of Cassandra, pardoned both him and Promos.' 



INTRO D UCTION. 1 5 

"The more authentic history of the Angelo of the Nether- 
lands is recorded by several of the old Dutch and Flemish 
chroniclers of the reign of Charles le Temeraire, the last of 
the more than royal dukes who reigned in different rights over 
the several states of Flanders, Holland, and Burgundy. (See 
Barante's Histoire des Dues de la Maison de Valois.) The An- 
gelo was here a very brave and renowned knight, who was 
governor of Flushing ; and it was the wife of a state crimi- 
nal, confined on a charge of sedition, who is tempted to yield 
up her honour on condition of receiving from the governor an 
order to the gaoler to deliver her husband up to her. In the 
meanwhile, a prior order had been sent ; the husband was 
secretly beheaded ; and the wife received, on presenting her 
order, a chest containing the bloody corpse. Upon the 
duke's visiting his principality of Zealand, she appealed to 
him for justice. The governor confessed his guilt, and threw 
himself with confidence upon the duke's mercy, relying on 
his former services and favour. The duke commanded him 
to marry the widow, and endow her formally with all his 
wealth. She at first shrunk with horror from the alliance, 
but at last consented to the ceremony, on the prayers of her 
family, who thought their honour involved in it. When this 
was done, the governor returned to the duke, and informed 
him that the injured person was now satisfied. ' So am not 
I,' replied this far more rigid ruler than Shakespeare's kind- 
hearted, philosophical duke. He sent the guilty man to the 
same prison where his victim had died. A confessor was 
sent with him ; and after the last rites of religion, without 
further delay, the governor was beheaded. His new wife 
and her friends had hurried to the prison, and arrived there 
only to receive the bloody trunk in the same manner that 
she had received the remains of her first husband. Over- 
come with horror, she fainted, and never recovered. 

" Had Shakespeare adopted this version of the story, it 
would have afforded him a canvas for many a scene of ter- 



!6 measure for measure. 

rific, perhaps of too horrible, truth. But this would have de- 
manded the omission or entire degradation of Isabella's char- 
acter — one so differing from every other of the many admi- 
rable portraits he has left us of female excellence, that its 
loss would have been dearly purchased, even by scenes of 
terror or pathos vying with those of the last acts of Lear or 
Othello."* 

III. CRITICAL COMMENTS ON THE PLAY. 
[From SchlegeVs "Dramatic Literature." i] 
In Measure for Measure Shakspeare was compelled, by 
the nature of the subject, to make his poetry more familiar 
with criminal justice than is usual with him. All kinds of 
proceedings connected with the subject, all sorts of active 
or passive persons, pass in review before us : the hypocrit- 
ical lord deputy, the compassionate provost, and the hard- 
hearted hangman ; a young man of quality who is to suf- 
fer for the seduction of his mistress before marriage, loose 
wretches brought in by the police, nay, even a hardened 
criminal, whom even the preparations for his execution can- 
not awaken out of his callousness. But yet, notwithstand- 
ing this agitating truthfulness, how tender and mild is the 
pervading tone of the picture ! The piece takes improperly 
its name from punishment ; the true significance of the whole 
is the triumph of mercy over strict justice ; no man being 
himself so free from errors as to be entitled to deal it out to 
his equals. The most beautiful embellishment of the com- 
position is the character of Isabella, who, on the point of tak- 
ing the veil, is yet prevailed upon by sisterly affection to 
tread again the perplexing ways of the world, while, amid 
the general corruption, the heavenly purity of her mind is 
not even stained with one unholy thought : in the humble 

* From Verplanck's Introduction to M.for M. 

t Lectures on Dramatic Art and Literature, by A. W. Schlegel ; Black's 
translation, revised by Morrison (London, 1846), p. 387 fol. 



INTROD UCTION. Y 7 

robes of the novice she is a very angel of light. When the 
cold and stern Angelo, heretofore of unblemished reputa- 
tion, whom the duke has commissioned, during his pretend- 
ed absence, to restrain, by a rigid administration of the laws, 
the excesses of dissolute immorality, is even himself tempted 
by the virgin charms of Isabella, supplicating for the pardon 
of her brother Claudio, condemned to death for a youthful 
indiscretion ; when at first, in timid and obscure language, 
he insinuates, but at last impudently avouches, his readiness 
to grant Claudio's life to the sacrifice of her honour ; when 
Isabella repulses his offer with a noble scorn ; in her account 
of the interview to her brother, when the latter at first ap- 
plauds her conduct, but at length, overcome by the fear of 
death, strives to persuade her to consent to dishonour — in 
these masterly scenes, Shakspeare has sounded the depths 
of the human heart. The interest here reposes altogether 
on the represented action ■ curiosity contributes nothing to 
our delight, for the duke, in the disguise of a monk, is al- 
ways present to watch over his dangerous representative, and 
to avert every evil which could possibly be apprehended ; 
we look to him with confidence for a happy result. The 
duke acts the part of the monk naturally, even to decep- 
tion; he unites in his person the wisdom of the priest and 
the prince. Only in his wisdom he is too fond of round- 
about ways ; his vanity is flattered with acting invisibly like 
an earthly providence ; he takes more pleasure in overhear- 
ing his subjects than governing them in the customary way 
of princes. As he ultimately extends a free pardon to all 
the guilty, we do not see how his original purpose, in com- 
mitting the execution of the laws to other hands, of restoring 
their strictness, has in any wise been accomplished. The 
poet might have had this irony in view, that of the number- 
less slanders of the duke, told him by the petulant Lucio, in 
ignorance of the person whom he is addressing, that at least 
which regarded his singularities and whims was not wholly 

C 



1 8 MEASURE FOR MEASURE. 

without foundation. It is deserving of remark, that Shak- 
speare, amidst the rancour of religious parties, takes a de- 
light in painting the condition of a monk, and always repre- 
sents his influence as beneficial. We find in him none of 
the black and knavish monks, which an enthusiasm for Prot- 
estantism, rather than poetical inspiration, has suggested to 
some of our modern poets. Shakspeare merely gives his 
monks an inclination to busy themselves in the affairs of oth- 
ers, after renouncing the world for themselves ; with respect, 
however, to pious frauds, he does not represent them as very 
conscientious. Such are the parts acted by the monk in 
Romeo and Juliet, and another in Much Ado about JVot/iiug, 
and even by the duke, whom, contrary to the well-known 
proverb, the cowl seems really to make a monk. 

[From Mrs. Jameson's " Characteristics of Women.'''' *] 
The character of Isabella, considered as a poetical deline- 
ation, is less mixed than that of Portia ; and the dissimilar- 
ity between the two appears, at first view, so complete that 
we can scarce believe that the same elements enter into the 
composition of each. Yet so it is ; they are portrayed as 
equally wise, gracious, virtuous, fair, and young ; we perceive 
in both the same exalted principle and firmness of charac- 
ter ; the same depth of reflection and persuasive eloquence ; 
the same self- denying generosity and capability of strong 
affections ; and we must wonder at that marvellous power 
by which qualities and endowments essentially and closely 
allied are so combined and modified as to produce a result 
altogether different. " O Nature ! O Shakspeare ! which of 
ye drew from the other?" 

Isabella is distinguished from Portia, and strongly indi- 
vidualized by a certain moral grandeur, a saintly grace, 
something of vestal dignity and purity, which render her less 
attractive and more imposing; she is "severe in youthful 
* American ed. (Boston, 1857), p. 83 foL 



INTR OD UC TION. 1 g 

beauty," and inspires a reverence which would have placed 
her beyond the daring of one unholy wish or thought, except 
in such a man as Angelo — 

" O cunning enemy, that, to catch a saint, 
With saints dost bait thy hook!" 

This impression of her character is conveyed from the 
very first, when Lucio, the libertine jester, whose coarse au- 
dacious wit checks at every feather, thus expresses his re- 
spect for her : 

" I would not — though 't is my familiar sin 
With maids to seem the lapwing, and to jest 
Tongue far from heart— play with all virgins so. 
I hold you as a thing enskied and sainted; 
By your renouncement an immortal spirit, 
And to be talk'd with in sincerity, 
As with a saint." 

A strong distinction between Isabella and Portia is pro- 
duced by the circumstances in which they are respectively 
placed. Portia is a high-born heiress, " lord of a fair man- 
sion, master of her servants, queen o'er herself;" easy and 
decided, as one born to command, and used to it. Isabella 
has also the innate dignity which renders her " queen o'er 
herself," but she has lived far from the world and its pomps 
and pleasures ; she is one of a consecrated sisterhood — a 
novice of St. Clare ; the power to command obedience and 
to confer happiness are to her unknown. Portia is a splen- 
did creature, radiant with confidence, hope, and joy. She is 
like the orange-tree, hung at once with golden fruit and lux- 
uriant flowers, which has expanded into bloom and fragrance 
beneath favouring skies, and has been nursed into beauty by 
the sunshine and the dews of heaven. Isabella is like a 
stately and graceful cedar, towering on some alpine cliff, un- 
bowed and unscathed amid the storm. She gives us the 
impression of one who has passed under the ennobling dis- 
cipline of suffering and self-denial: a melancholy charm 



2 o MEASURE FOR MEASURE. 

tempers the natural vigour of her mind : her spirit seems to 
stand upon an eminence, and look down upon the world as 
if already enskied and sainted ; and yet when brought in 
contact with that world which she inwardly despises, she 
shrinks back with all the timidity natural to her cloistral 
education. 

This union of natural grace and grandeur with the habits 
and sentiments of a recluse — of austerity of life with gentle- 
ness of manner — of inflexible moral principle with humility 
and even bashfulness of deportment— is delineated with the 
most beautiful and wonderful consistency. Thus when her 
brother sends to her, to entreat her mediation, her first feel- 
ing is fear, and a distrust in her own powers : 

" Alas ! what poor ability 's in me 
To do him good? 
Lucio. Assay the power you have. 
Isabel/a. My power? Alas, I doubt." 

In the first scene with Angelo she seems divided between 
her love for her brother and her sense of his fault ; between 
her self-respect and her maidenly bashfulness. She begins 
with a kind of hesitation " at war 'twixt will and will not :" 
and when Angelo quotes the law, and insists on the justice 
of his sentence, and the responsibility of his station, her 
native sense of moral rectitude and severe principles takes 
the lead, and she shrinks back : 

" O just but severe law ! 
I had a brother, then. Heaven keep your honour !" {Retiring.) 

Excited and encouraged by Lucio, and supported by her 
own natural spirit, she returns to the charge. She gains 
energy and self-possession as she proceeds, grows more 
earnest and passionate from the difficulty she encounters, 
and displays that eloquence and power of reasoning for 
which we had been already prepared by Claudio's first allu- 
sion to her : 



INTR OD UC TION~. 2 1 

" In her youth 
There is a prone and speechless dialect, 
Such as moves men ; beside, she hath prosperous art, 
When she will play with reason and discourse, 
And well she can persuade." 

It is a curious coincidence that Isabella, exhorting Angelo 
to mercy, avails herself of precisely the same arguments and 
insists on the self- same topics which Portia addresses to 
Shylock in her celebrated speech ; but how beautifully and 
how truly is the distinction marked ! how like, and yet how 
unlike ! Portia's eulogy on mercy is a piece of heavenly 
rhetoric ; it falls on the ear with a solemn measured har- 
mony; it is the voice of a descended angel addressing an 
inferior nature: if not premeditated, it is at least part of a 
preconcerted scheme ; while Isabella's pleadings are poured 
from the abundance of her heart in broken sentences, and 
with the artless vehemence of one who feels that life and 
death hang upon her appeal. This will be best understood 
by placing the corresponding passages in immediate com- 
parison with each other. 

"Portia. The quality of mercy is not strain'd, 
It droppeth as the gentle rain from heaven 
Upon the place beneath; it is twice blest; 
It blesseth him that gives and him that takes ; 
'T is mightiest in the mightiest; it becomes 
The throned monarch better than his crown : 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty, 
Wherein doth sit the dread and fear of kings; 
But mercy is above this sceptred sway; 
It is enthroned in the hearts of kings." 

"Isabella. Well, believe this, 

No ceremony that to great ones longs, 
Not the king's crown, nor the deputed sword, 
The marshal's truncheon, nor the judge's robe, 
Become them with one half so good a grace 
As mercy does." 



22 MEASURE FOR MEASURE. 

"Portia. Consider this, — 

That, in the course of justice, none of us 
Should see salvation : we do pray for mercy; 
And that same prayer doth teach us all to render 
The deeds of mercy." 

"Isabella. Alas, alas ! 

Why all the souls that were were forfeit once ; 
And He that might the vantage best have took 
Found out the remedy. How would you be, 
If He, which is the top of judgment, should 
But judge you as you are ? O, think on that ! 
And mercy then will breathe within your lips, 
Like man new made." 

The beautiful things which Isabella is made to utter have, 
like the sayings of Portia, become proverbial ; but in spirit 
and character they are as distinct as are the two women. 
In all that Portia says, we confess the power of a rich, poeti- 
cal imagination, blended with a quick practical spirit of ob- 
servation, familiar with the surfaces of things; while there is 
a profound yet simple morality, a depth of religious feeling, 
a touch of melancholy, in Isabella's sentiments, and some- 
thing earnest and authoritative in the manner and expres- 
sion, as though they had grown up in her mind from long 
and deep meditation in the silence and solitude of her con- 
vent cell. . . . 

Isabella's confession of the general frailty of her sex has 
a peculiar softness, beauty, and propriety. She admits the 
imputation with all the sympathy of woman for woman ; yet 
with all the dignity of one who felt her own superiority to 
the weakness she acknowledges. 

"Angelo. Nay, women are frail, too. 

Isabella. Ay, as the glasses where they view themselves, 
Which are as easy broke as they make forms. 
Women ! Help heaven ! men their creation mar 
In profiting by them. Nay, call us ten times frail ; 
For we are soft as our complexions are, 
And credulous to false prints." 



INTRODUCTION. 23 

Nor should we fail to remark the deeper interest which is 
thrown round Isabella by one part of her character, which is 
betrayed rather than exhibited in the progress of the action ; 
and for which we are not at first prepared, though it is so 
perfectly natural. It is the strong undercurrent of passion 
and enthusiasm flowing beneath this calm and saintly self- 
possession ; it is the capacity for high feeling and generous 
and strong indignation, veiled beneath the sweet austere 
composure of the religious recluse, which, by the very force 
of contrast, powerfully impress the imagination. As we see 
in real life that where, from some external or habitual cause, 
a strong control is exercised over naturally quick feelings 
and an impetuous temper, they display themselves with a 
proportionate vehemence when that restraint is removed ; 
so the very violence with which her passions burst forth, 
when opposed or under the influence of strong excitement, 
is admirably characteristic. 

Thus in her exclamation, when she first allows herself to 
perceive Angelo's vile design — 

" Ha ! little honour to be much believ'd, 
And most pernicious purpose ! Seeming, seeming ! 
I will proclaim thee, Angelo ; look for it ! 
Sign me a present pardon for my brother, 
Or with an outstretch'd throat I '11 tell the world 
Aloud what man thou art." 

And again, where she finds that the "outward sainted 

deputy " has deceived her — 

" O, I will to him, and pluck out his eyes ! 
Unhappy Claudio ! wretched Isabel ! 
Injurious world ! most damned Angelo !" 

She places at first a strong and high-souled confidence in 
her brother's fortitude and magnanimity, judging him by her 
own lofty spirit; but when her trust in his honour is deceived 
by his momentary weakness, her scorn has a bitterness and 
her indignation a force of expression almost fearful ; and 



24 MEASURE FOR MEASURE. 

both are carried to an extreme which is perfectly in charac- 
ter. . . . 

The whole of this scene with Claudio is inexpressibly 
grand in the poetry and the sentiment; and the entire play 
abounds in those passages and phrases which must have be- 
come trite from familiar and constant use and abuse, if their 
wisdom and unequalled beauty did not invest them with an 
immortal freshness and vigour and a perpetual charm. . . . 

Of all the characters, Isabella alone has our sympathy. 
But though she triumphs in the conclusion, her triumph is 
not produced in a pleasing manner. There are too many 
disguises and tricks, too many "by-paths and indirect 
crooked ways," to conduct us to the natural and foreseen 
catastrophe, which the duke's presence throughout renders 
inevitable. This duke seems to have a predilection for 
bringing about justice by a most unjustifiable succession of 
falsehoods and counterplots. He really deserves Lucio's 
satirical designation, who somewhere styles him " the fan- 
tastical duke of dark corners." But Isabella is ever con- 
sistent in her pure and upright simplicity, and, in the midst 
of this simulation, expresses a characteristic disapprobation 
of the part she is made to play : 

" To speak so indirectly T am loath ; 
I would say the truth." 

She yields to the supposed friar with a kind of forced 
docility, because her situation as a religious novice, and his 
station, habit, and authority, as her spiritual director, demand 
this sacrifice. In the end we are made to feel that her tran- 
sition from the convent to the throne has but placed this 
noble creature in her natural sphere ; for though Isabella as 
Duchess of Vienna could not more command our highest 
reverence than Isabella the novice of St. Clare, yet a wider 
range of usefulness and benevolence, of trial and action, was 
better suited to the large capacity, the ardent affections, the 



INTRODUCTION. 25 

energetic intellect, and firm principle of such a woman as 
Isabella than the walls of a cloister. The .philosophical 
duke observes in the very first scene : 

" Spirits are not finely touch'd 
But to fine issues, nor Nature never lends 
The smallest scruple of her excellence 
But, like a thrifty goddess, she determines 
Herself the glory of a creditor, 
Both thanks and use." 

This profound and beautiful sentiment is illustrated in the 
character and destiny of Isabella. She says, of herself, that 
"she has spirit to act whatever her heart approves;" and 
what her heart approves we know. 

[From Verplanck \r "Shakespeare" *~\ 
This [the date of "the close of 1603 or the beginning of 
1604"] places this remarkable drama at the commencement 
of that portion of the author's life, from 1602 to 1607, which 
was memorable for the production of Othello, with its bitter 
passion; the additions to the original Hamlet^ with their 
melancholy wisdom ; probably of Timon, with his indignant 
and hearty scorn, and rebukes of the baseness of civilized 
society; and, above all, of Lear, with its dark pictures of un- 
mixed, unmitigated guilt, and its terrible and prophet -like 
denunciations. Like all these, and perhaps more than any 
of them, it bears the stamp of that period of the author's life, 
first noted by Hallam, when some sad influence weighed 
upon the poet's spirit, and prompted him constantly to ap- 
pear as " the stern censurer of man." I see no reason to 
doubt that this did not arise merely from a change of taste, 
or an experiment in dramatic art, but was, in some mannjer, 
connected with events or circumstances personal to the 
author, and affecting his temper, disposition, and moral asso- 

* The Illustrated Shakespeare, edited by G. C. Verplatick (New York, 
1847), vol. ii. p. 4 of M.for M. 



26 MEASURE FOR MEASURE. 

ciations of thought. There is no part of the author's own 
practical philosophy more true than that " a man's mind is 
parcel of his fortunes." He does not, indeed, like Milton, 
or Rousseau, or Byron, delight to make himself the prom- 
inent figure in all his intellectual creations; yet these are 
not the less evidently coloured by the varying moods pre- 
dominant, from time to time, during the changes of life. 
Few men could have more enjoyed life, or have more in- 
tensely relished the beautiful or the pleasurable, or more 
revelled in the ludicrous and the fantastical, than the author 
of that gay and bright succession of poetic comedies, from 
Love's Labour *s Lost to As You Like Lt and the Twelfth 
Night. How striking is the contrast, in this respect, between 
these, and especially between the last — and to my taste the 
most delightful of all — and the Measure for Measure, austere 
in its ethical poetry, and sarcastic in its humorous delinea- 
tions ! or between this last and The Merchant of Venice, 
where the same topics are often enforced, the same train of 
thought and even of imagery introduced! They are the 
same, yet how different! — like the same landscape seen in 
the sparkling sunshine, after a vernal rain, and again under 
a lowering wintry sky. The cause must remain in darkness; 
but, to my mind, it appears manifest that the effect was not 
the result merely of altering taste or ripening judgment. 
Samson Agotiistes does not more strongly testify to some 
great and overwhelming physical and political revolution 
prostrating and fettering the intellectual giant, in body and 
mind, than this play and the nearly contemporary writings 
of its author do to some similar moral cause, or some exter- 
nal calamity of life acting upon the moral faculties, and pro- 
ducing new combinations and results in Shakespeare's moral 
anatomy of the human heart. It may have been some deep 
wound of the affections, some repeated evidence of man's 
ingratitude and heartlessness, possibly some mere personal 
calamity, bringing home to the brilliant and successful man 



INTR OD UC TION. 2 7 

of genius the living sense of the world's worthlessness, and 
opening to his sight the mysterious evil of his own nature. 

Whatever, then, may have been the immediate and exter- 
nal causes of this signal intellectual phenomenon in our 
literary history, it is undeniable that this drama of Measure 
for Measure specially marks the period of this great climac- 
teric of Shakespeare's genius, resembling those climacterics 
of the body which, according to the old notions of philosophy 
or superstition, come in their regular periods over man, work- 
ing a strange alteration in the functions of his body, as dif- 
ferent planets succeed with new influences to rule his mind 
and his destiny. Although under its strong influence the 
poet was now about to enter upon a nobler course of labour, 
and to teach the world deeper and truer lessons in the learn- 
ing of "human dealings," yet we cannot but rejoice that this 
solemn change of all the poet's lighter fancies into some- 
thing still more " rich and strange " came not until after the 
quick and brilliant succession of his matchless poetic come- 
dies had perpetuated the memory of his years of buoyant 
spirits, hope, joy, and untiring fancy. For although we often 
find in his later works a calm and serene spirit of enjoyment, 
such as we have before alluded to in the pastoral beauties 
of Perdita's conversation, and the mountain scenes of Cym- 
beline — though his comic sketches in his later dramas prove 
that his perception of whimsical or absurd character was as 
acute and active as ever, and his power of graphic delinea- 
tion as vivid — yet even then there seems to be an absence 
of that personal abandonment of the author's own spirit to 
the beauty or the humour of the scene to which he had be- 
fore accustomed us. He appears more as the great philo- 
sophical artist, depicting the very truth and nature of his 
scenes, and not, as was his former wont, as himself one of his 
own joyous throng, mixing in the plot against the bachelor 
liberty of Benedick — enjoying the frolics in Eastcheap as 
much as Falstaffor the Prince— or joining his own voice in 
the boisterous glee of Sir Toby and Sir Andrew. 



2 3 MEASURE FOR MEASURE. 

But Measure for Measure breathes a sterner spirit than 
belongs to the productions of either the earlier or the later 
periods. Dr. Johnson has said that its "comic scenes are 
natural and pleasing." Their fidelity to nature cannot, in- 
deed, be denied. But if they please, they do so from their 
faithfulness of portraiture ; not, like the scenes of Bottom or 
Falstaff, and their companions, from their exuberance of 
mirthful sport, or their rich originality of invention and wit. 
They, as well as the loftier scenes of the piece, are but too 
faithful pictures of the degrading and hardening influence 
of licentious passion, from the lighter profligacy of Lucio, 
the dissipated gentleman, to the grosser and contented deg- 
radation of the Clown ; and if these are all painted with the 
truth of Hogarth or Crabbe, they are depicted with no air 
of sport or mirth, but rather with that of bitter scorn. The 
author seems to smile like his own Cassius, " as if he mocked 
himself." Thus Elbow, in his self-satisfied conceit and pe- 
dantic ignorance, would appear, as some of the critics regard 
him, simply as an inferior version of Dogberry. But he is 
not a Dogberry in whose absurdities the author himself lux- 
uriates, but one whose peculiarities are delineated with a 
contemptuous sneer. Lucio, again, is a character unfortu- 
nately too common in civilized, and especially in city, life — a 
gentleman in manners and education, and of good natural 
ability, made frivolous in mind and debased in sentiment 
and disposition by licentious and idle habits — thus substan- 
tially not a very different character from some of the lighter 
personages of the prior dramas; but he differs mainly from 
them because exhibited under a very different light, and re- 
garded in a different temper. The others are represented 
in his scenes as they appeared to the transient acquaintance, 
or the companions of their pleasures. But the poet looks 
deeper into the heart and life of Lucio, and portrays this 
man of pleasure in the same mood which governs the higher 
and more tragic scenes of this drama — a mood sometimes 



INTRODUCTION. 29 

contemptuous, sometimes sad, often indignant, but never 
such as had been his former wont, either merely playful or 
imaginative. Thus it seems to me that, if his comic scenes 
excite mirth from their truth, it is a mirth in which the author 
did not participate; and their sarcastic humour assimilates 
itself in feeling to that of the stern and grave interest of the 
plot, and the strong passion of its poetic scenes. Characters, 
in themselves light and amusing, are branded with contempt 
from the degradation of licentious habits; while the same 
passion, in a form of less grossness, but of deeper guilt, pros- 
trates before it high reputation, talent, and wisdom. The 
intellectual and amiable Claudio, willing to purchase "the 
weariest and most loathed worldly life," at any cost of shame 
and sin, is strangely contrasted with the drunken Barnardine, 
" careJe-ss, reckless, and fearless of what is past, present, or 
to come." Indeed, the higher characters are mainly dis- 
criminated from the lower ones, in this moral delineation, in 
that conscience is dull or dead in the latter, while it appears 
in all its terrors in Angelo and Claudio, and in all the maj- 
esty of purity in Isabella. There is little formality of moral 
instruction, but the secret workings of guilt and fear are laid 
open with the rapidity, suddenness, and brevity of unuttered 
and half-formed thoughts. That men of lax moral opinions 
should shrink with disgust, as some of his critics have done, 
from this too true a delineation of so common a vice, is not 
to be wondered at. It was less to be expected that Cole- 
ridge should have formed the judgment he has expressed on 
this drama, though there are not a few readers who will as- 
sent to it. He observes, in his Literary Remains : "This 
play, which is Shakespeare's throughout, is to me the most 
painful, say rather the only painful, part of his genuine works. 
The comic and tragic parts equally border on the miseteon — 
the one being disgusting, the other horrible; and the pardon 
and marriage of Angelo not merely baffles the strong, indig- 
nant claim of justice (for cruelty, witn lust and damnable 



30 MEASURE FOR MEASURE. 

baseness, cannot be forgiven, because we cannot conceive 
them as being morally repented of), but it is likewise degrad- 
ing to the character of woman." We also learn from Mr. 
Collier that, in the course of lectures on Shakespeare de- 
livered in 1818 (which were delivered from imperfect notes, 
and never written out), Coleridge pointed especially to the 
artifice of Isabella, and her seeming consent to the suit of 
Angelo, as the circumstances which tended to lower the 
character of the female sex. He then called Measure for 
Measure only the "least agreeable " of Shakespeare's dramas. 
This criticism, however little laudatory, is still substantially 
an acknowledgment of the severe unity of feeling and pur- 
pose which pervades the piece, and the impressive power 
with which it enforces revolting and humbling truths. These 
are the more conspicuous, because the dark painting of 
moral degradation, of guilt, remorse, and the dread of death, 
is not relieved, as is the poet's use elsewhere, by passages of 
descriptive beauty, or fancy, or tenderness. The only strong 
contrast which supplies their place is that of the severe 
beauty of Isabella's character, and the majestic wisdom and 
deep sentiment of her fervid eloquence. That in this sense 
the drama is not agreeable, and that it is even painful, is 
very true; yet the degree of pain thus given is precisely that 
by which the intellect is most excited, and which is thus the 
source of the deep and absorbing interest excited by all 
gloomy yet true pictures of life, in its sadder shapes of crime 
and woe. Though the subject and the thoughts be in them- 
selves repulsive, yet when, as here, we feel that the author is 
breathing through them the strong emotions of his own soul, 
the attention is fixed, and the sympathy enchained. This is 
the secret of Dante's power, and of that of the nobler por- 
tion of Byron's poetry. That Measure for Measure possesses 
much of this power, is proved by the fact that, in spite of the 
objections of critics of every degree, it has always taken a 
strong hold of the general mind. No one of the high female 



INTRODUCTION. 31 

characters of tragedy has been found more effective in rep- 
resentation than Isabella; while there is perhaps no com- 
position of the same length in the language which has left 
more of its expressive phrases, its moral aphorisms, its brief 
sentences crowded with meaning, fixed in the general mem- 
ory, and embodied by daily use in every form of popular 
eloquence, argument, and literature. 

[From Mr. F. J. FnrnivalVs Introduction to the Play*'] 
On the stifling air of this drama, as contrasted with earlier 
ones, hear Mr. W. Watkiss Lloyd : " We never throughout 
this play get into the free, open, joyous atmosphere so invig- 
orating in other works of Shakspere : the oppressive gloom 
of the prison, the foul breath of the brothel, are only ex- 
changed for the chilly damp of conventual walls, or the op- 
pressive retirement of the monastery, where friars are curious 
as to the motives of ducal seclusion, and are ready to inti- 
mate that a petticoat is concerned in the secret." Yet 
though we have this " night's black curtain " over the play ;f 
though woman's and man's incontinence match, to some ex- 
tent, the queen's and Claudius's in Hamlet; though Claudio 
in his weak fear of death, like Hamlet, fails to do his duty; 
yet here, beside, in intentional contrast to the lust and weak 
will of woman and man, rises, like the moon in its pure 
beauty, like the lightning-flash in its white wrath, the noble 
figure of Isabella, " a thing enskied and sainted, an immortal 
spirit," Shakspere's first wholly Christian woman, steadfast 
and true as Portia, Brutus's wife, pure as Lucrece's soul, 
merciful above Portia, Bassanib's bride, in that she prays for 
forgiveness for her foe, not her friend; with an unyielding 
will, a martyr's spirit above Helena's of All 's Well, the high- 
est type of woman that Shakspere has yet drawn. . . . 

* The Leopold Shakspere (London, 1877), p. lxxiv. 
t The play was probably written during the plague of 1603 in London, 
in which, according to Stowe, 30,578 persons died. 



3 2 MEASURE FOR MEASURE. 

Those who would put Measure for Measure next to All *s 
Well* surely overlook the far deeper tone of the former 
play: its dealing with death and the future world, its weight 
of reflection, the analysis of Angelo's character, the working 
of conscience, the greater corruption dealt with, the higher 
saintliness shown in Isabella. Also, if we look at the name 
of the play, Measure for Measure, we shall see that Shak- 
spere's idea in it was, though with grim humour and ultimate 
relenting, to preach in Angelo and Lucio his Third-Period 
doctrine — an eye for an eye, a tooth for a tooth, vengeance 
for weakness, yielding to temptation and sin, though here 
the vengeance is but the poetical justice of marriage to the 
women whom the sinners have sinned with or abandoned. 
Intending nun as Isabella is, we must nevertheless look on 
her as no hard recluse, but as " Isabel, sweet Isabel," with 
cheek-roses, gentle and fair. Yet she is "a thing enskied 
and sainted, an immortal spirit;" and this enables us to un- 
derstand the conflict that must have gone on in her mind 
between her sisterly affection and her religious principles 
when pleading her brother's cause, and her acquiescence in 
Angelo's resolve that Claudio must die. Both times she 
needs Lucio's appeal before she '11 again urge how much bet- 
ter mercy becomes the king and judge than justice. Her 
unhappy words, "Hark! how I '11 bribe you," seem to have 
first brought out the evil in Angelo. " He tempts her 
through that which is uppermost in the noble woman, the 
passion for sacrifice. There is something splendid in the 
idea of perilling the soul itself for the sake of another " (E. 
H. Hickey). Shakspere's original, Whetstone, makes his 
heroine Cassandra give way to her brother's appeal : 

" My Andrugio, take comfort in distresse ; 
Cassandra is wonne, thy rannsome greate to paye." 

* Mr. Furnivall puts M. for M. next to Hamlet in the order of the 
plays. See p. n above. — Ed. 



INTRODUCTION. ^ 

But this was not Shakspere's conception of Isabella. She 
believed that the son of her heroic father was noble like her- 
self; and when she found that he was willing to sacrifice 
her honour for his life, " her swift vindictive anger leapt like 
a white flame from her white spirit," # and her indignant 
" take my defiance, die, perish," was her fit answer to her 
brother's base proposal. Yet she who would not stoop to 
wrong, dared for the sake of Mariana to bear the imputation 
of it. She had no care for the world's opinion, so that the 
deed appeared not foul in the truth of her spirit ; and as in 
The Merry Wives and Much Ado, her quick woman's wit took 
a righteous delight in circumventing a knave. We have an- 
other passionate outburst from her when she hears the false 
news that her brother has been executed. And then she 
takes her side by the duke, who loves her, to fight with him 
God's fight against the evil in that foul Vienna; a far better 
post, heading Heaven's army in her land, than praying bar- 
ren prayers in convent walls. She is the first of the three 
splendid women who illumine the dark Third Period : she, 
glorious for her purity and righteousness, Cordelia for her 
truth and filial love, Volumnia for her devotion to honour 
and her love of her native land. Perhaps we may add a 
fourth, Portia, Brutus's wife, for nobleness and wifely duty. 
But the highest of all is Isabella. 

* See my friend Mr. W. H. Pater's admirable paper in The Fortnightly 
Review, 1874 or 1875. 

c 




MEASURE FOR MEASURE. 




Vincentio, the Duke. 

Angelo, Deputy. 

Escalus, an ancient Lord. 

Claudio, a young gentleman 

Lucio, a fantastic. 

Two other gentlemen. 

Provost. 

Thomas, I. c ■ 

Peter, ) two fnars 

A Justice. 

Varrius. 

Elbow, a simple constable. 

Froth, a foolish gentleman. 

Pom pry, servant to Mistress Overdone 

Abhorson, an executioner. 

Barnardine, a dissolute prisoner. 

Isabella, sister to Claudio. 
Mariana, betrothed to Angelo. 
Juliet, beloved of Claudio. 
Francisca, a nun. 
Mistress Overdone, a bawd. 

Lords, Officers, Citizens, Boy, 
and Attendants. 

Vie?ina. 





STREET IN VIENNA (SCENE III.). 



ACT I. 

Scene I. An Apartment in the Duke's Palace. 

Enter Duke, Escalus, Lords and Attendants. 

Duke. Escalus. 

Escalus. My lord. 

Duke. Of government the properties to unfold 
Would seem in me to affect speech and discourse, 
Since I am put to know that your own science 
Exceeds, in that, the lists of all advice 
My strength can give you ; then no more remains 



38 MEASURE FOR MEASURE. 

But that to your sufficiency — as your worth is able — 

And let them work. The nature of our people, 

Our city's institutions, and the terms iq 

For common justice, you 're as pregnant in 

As art and practice hath enriched any 

That we remember. There is our commission, 

From which we would not have you warp. — Call hither, 

I say, bid come before us Angelo. — [Exit an Attendant 

What figure of us think you he will bear? 

For you must know, we have with special soul 

Elected him our absence to supply, 

Lent him our terror, dress'd him with our love, 

And given his deputation all the organs zc 

Of our own power. What think you of it? 

Escalus. If any in Vienna be of worth 
To undergo such ample grace and honour, 
It is Lord Angelo. 

Duke. Look where he comes. 

Enter Angelo. 

Angelo. Always obedient to your grace's will, 
I come to know your pleasure. 

Duke, Angelo, 

There is a kind of character in thy life, 
That to the observer doth thy history 
Fully unfold. Thyself and thy belongings 
Are not thine own so proper as to waste 3° 

Thyself upon thy virtues, they on thee. 
Heaven doth with us as we with torches do, 
Not light them for themselves ; for if our virtues 
Did not go forth of us, 't were all alike 
As if we had them not. Spirits are not finely touch'd 
But to fine issues, nor Nature never lends 
The smallest scruple of her excellence 
But, like a thrifty goddess, she determines 



ACT I. SCENE I. 



39 



Herself the glory of a creditor, 

Both thanks and use. But I do bend my speech 4 o 

To one that can my part in him advertise ; 

Hold therefore, Angelo : — 

In our remove be thou at full ourself ; 

Mortality and mercy in Vienna 

Live in thy tongue and heart. Old Escalus, 

Though first in question, is thy secondary. 

Take thy commission. 

Angelo. Now, good my lord, 

Let there be some more test made of my metal, 
Before so noble and so great a figure 
Be stamp'd upon it. 

Duke. No more evasion : so 

We have with a leaven'd and prepared choice 
Proceeded to you ; therefore take your honours. 
Our haste from hence is of so quick condition 
That it prefers itself and leaves unquestion'd 
Matters of needful value. We shall write to you, 
As time and our concernings shall importune, 
How it goes with us, and do look to know 
What doth befall you here. So, fare you well ; 
To the hopeful execution do I leave you 
Of your commissions. 

Angelo. Yet give leave, my lord, 60 

That we may bring you something on the way. 

Duke. My haste may not admit it : 
Nor need you, on mine honour, have to do 
With any scruple ; your scope is as mine own, 
So to enforce or qualify the laws 
As to your soul seems good. Give me your hand. 
I '11 privily away. I love the people, 
But do not like to stage me to their eyes. 
Though it do well, I do not relish well 
Their loud applause and aves vehement; 70 



4o 



MEASURE FOR MEASURE. 



Nor do I think the man of safe discretion 
That does affect it. Once more, fare you well. 

Angelo. The heavens give safety to your purposes ! 

Escalus. Lead forth and bring you back in happiness ! 

Duke. I thank you. Fare you well. [Exit. 

Escalus. I shall desire you, sir, to give me leave 
To have free speech with you ; and it concerns me 
To look into the bottom of my place. 
A power I have, but of what strength and nature 
I am not yet instructed. 80 

Angelo. 'T is so with me. Let us withdraw together, 
And we may soon our satisfaction have 
Touching that point. 

Escalus. I '11 wait upon your honour. [Exeunt. 

Scene II. A Street. . 
E?iter Lucio and two Gentlemen. 
Lucio. If the duke with the other dukes come not to com- 
position with the King of Hungary, why then all the dukes 
fall upon the king. 

1 Gentle??ian. Heaven grant us its peace, but not the King 
of Hungary's ! 

2 Gentleman. Amen. 

Lucio. Thou concludest like the sanctimonious pirate, that 
went to sea with the Ten Commandments, but scraped one 
out of the table. 

2 Gentleman. Thou shalt not steal? 10 

Lucio. Ay, that he razed. 

1 Gentleman. Why, 't was a commandme-nt to command 
the captain and all the rest from their functions ; they put 
forth to steal. There 's not a soldier of us all, that, in the 
thanksgiving before meat, do relish the petition well that 
prays for peace. 

2 Getitleman. I never heard any soldier dislike it. 



ACT I. SCENE II. 



41 



Lucio. I believe thee ; for I think thou never wast where 
grace was said. 

2 Gentleman. No ? a dozen times at least. 20 

1 Gentleman. What, in metre ? 

Lucio. In any proportion or in any language. 

1 Gentleman. I think, or in any religion. 

Lucio. Ay, why not? Grace is grace, despite of all con- 
troversy; as, for example, thou thyself art a wicked villain, 
despite of all grace. 

1 Gentleman. Well, there went but a pair of shears be- 
tween us. 

Lucio. I grant; as there may between the lists and the 
velvet. Thou art the list. 30 

1 Gentleman. And thou the velvet: thou art good velvet; 
thou 'rt a three-piled piece, I warrant thee. I had as lief be 
a list of an English kersey as be piled, as thou art piled, for 
a French velvet. Do I speak feelingly now ? 

Lucio. I think thou dost; and, indeed, with most painful 
feeling of thy speech. I will, out of thine own confession, 
learn to begin thy health ; but, whilst I live, forget to drink 
after thee. 

1 Gentleman. I think I have done myself wrong, have I 
not ? 40 

2 Gentleman. Yes, that thou hast, whether thou art tainted 
or free. 

Lucio. Behold, behold, where Madam Mitigation comes ! 

1 Gentleman. I have purchased as many diseases under 
her roof as come to — 

2 Gentleman. To what, I pray ? 
Lucio. Judge. 

2 Gentleman. To three thousand dolours a year. 
1 Gentleman. Ay, and more. 

Lucio. A French crown more. so 

1 Gentleman. Thou art always figuring diseases in me ; 
but thou art full of error ; I am sound. 



4 2 MEASURE FOR MEASURE. 

Lucio. Nay, not as one would say, healthy ; but so sound 
as things that are hollow : thy bones are hollow ; impiety 
has made a feast of thee. 

Enter Mistress Overdone. 

i Gentleman. How now ! which of your hips has the most 
profound sciatica ? 

Mrs. Overdone. Well, well; there 's one yonder arrested 
and carried to prison was worth five thousand of you all. 

2 Ge?itleman. Who 's that, I pray thee ? 60 

Mrs. Overdo?ie. Marry, sir, that 's Claudio, Signior Claudio. 

1 Gentleman. Claudio to prison ! 't is not so. 

Mrs. Overdone. Nay, but I know 't is so. I saw him ar- 
rested, saw him carried away; and, which is more, within 
these three days his head to be chopped off. 

Lucio. But, after all this fooling, I would not have it so. 
Art thou sure of this? 

Mrs. Overdone. I am too sure of it; and it is for getting 
Madam Julietta with child. 69 

Lucio. Believe me, this may be ; he promised to meet me 
two hours since, and he was ever precise in promise-keeping. 

2 Gentleman. Besides, you know, it draws something near 
to the speech we had to such a purpose. 

1 Gentleman. But, most of all, agreeing with the proclama- 
tion. 

Lucio. Away ! let 's go learn the truth of it. 

[Exeunt Lucio and Gentlemen. 

Mrs. Overdofie. Thus, what with the war, what with the 
sweat, what with the gallows, and what with poverty, I am 
custom-shrunk. — 

Enter Pompey. 
How now ! what 's the news with you ? 80 

Pompey. Yonder man is carried to prison. 
Mrs. Overdone. Well, what has he done ? 



ACT I. SCENE II. 43 

Pompey. A woman. 

Mrs. Overdone. What, is there a maid with child by him ? 

Pompey. No, but there 's a woman with maid by him. You 
have not heard of the proclamation, have you ? 

Mrs. Overdone. What proclamation, man ? 

Po?npey. All houses in the suburbs of Vienna must be 
plucked down. 

Mrs. Overdone. And what shall become of those in the 
city ? 9I 

Pompey. They shall stand for seed ; they had gone down 
too, but that a wise burgher put in for them. 

Mrs. Overdone. But shall all our houses of resort in the 
suburbs be pulled down ? 

Pompey. To the ground, mistress. 

Mrs. Overdone. Why, here 's a change indeed in the com- 
monwealth? What shall become of me ? 

Pompey. Come, fear not you ; good counsellors lack no 
clients. Though you change your place, you need not change 
your trade ; I '11 be your tapster still. Courage ! there will 
be pity taken on you ; you that have worn your eyes almost 
out in the service, you will be considered. 103 

Mrs. Overdone. What 's to do here, Thomas Tapster ? let 's 
withdraw. 

Pompey. Here comes Signior Claudio, led by the provost 
to prison ; and there 's Madam Juliet. [Exeunt. 

Enter Provost, Claudio, Juliet, and Officers. 

Claudio. Fellow, why dost thou show me thus to the world ? 
Bear me to prison, where I am committed. 

Provost. I do it not in evil disposition, no 

But from Lord Angelo by special charge. 

Claudio. Thus can the demigod Authority 
Make us pay down for our offence by weight. — 
The words of heaven : — on whom it will, it will ; 
On whom it will not, so; yet still 't is just. 



44 MEASURE FOR MEASURE. 

Re-enter Lucio and two Gentlemen. 

Lucio. Why, how now, Claudio ! whence comes this re- 
straint ? 

Claudio. From too much liberty, my Lucio, liberty ; 
As surfeit is the father of much fast, 
So every scope by the immoderate use 

Turns to restraint. Our natures do pursue, 120 

Like rats that ravin down their proper bane, 
A thirsty evil; and when we drink we die. 

Lucio. If I could speak so wisely under an arrest, I would 
send for certain of my creditors ; and yet, to say the truth, I 
had as lief have the foppery of freedom as the morality of 
imprisonment. What 's thy offence, Claudio? 

Claudio. What but to speak of would offend again. 

Lucio. What, is 't murther? 

Claudio. No. 

Lucio. Lechery? 130 

Claudio. Call it so. 

Provost. Away, sir ! you must go. 

Claudio. One word, good friend. — Lucio, a word with you. 

Lucio. A hundred, if they '11 do you any good. — Is lechery 
so look'd after? 

Claudio. Thus stands it with me : upon a true contract 
I got possession of Julietta's bed. 
You know the lady ; she is fast my wife, 
Save that we do the denunciation lack 
Of outward order : this we came not to, 
Only for propagation of a dower 140 

Remaining in the coffer of her friends, 
From whom we thought it meet to hide our love 
Till time had made them for us. But it chances 
The stealth of our most mutual entertainment 
With character too gross is writ on Juliet. 

Lucio. With child, perhaps? 



ACT I. SCENE II. 45 

■- Claudio. Unhappily, even so. 

And the new deputy now for the duke — 

Whether it be the fault and glimpse of newness, 

Or whether that the body public be 

A horse whereon the governor doth ride, 150 

Who, newly in the seat, that it may know 

He can command, lets it straight feel the spur; 

Whether the tyranny be in his place, 

Or in his eminence that fills it up, 

I stagger in: — but this new governor 

Awakes me all the enrolled penalties 

Which have, like unscour'd armour, hung by the wall 

So long that nineteen zodiacs have gone round 

And none of them been worn ; and, for a name, 

Now puts the drowsy and neglected act 160 

Freshly on me: 't is surely for a name. 

Lucio. I warrant it is; and thy head stands so tickle on 
thy shoulders that a milkmaid, if she be in love, may sigh it 
off. Send after the duke and appeal to him. 

Claudio. I have done so, but he 's not to be found. 
I prithee, Lucio, do me this kind service. 
This day my sister should the cloister enter 
And there receive her approbation : 
Acquaint her with the danger of my state; 
Implore her, in my voice, that she make friends 170 

To the strict deputy ; bid herself assay him. 
I have great hope in that ; for in her youth 
There is a prone and speechless dialect, 
Such as move men ; beside, she hath prosperous art 
When she will play with reason and discourse, 
And well she can persuade. 

Lucio. I pray she may ; as well for the encouragement of 
the like, which else would stand under grievous imposition, 
as for the enjoying of thy life, who I would be sorry should 
be thus foolishly lost at a game of tick-tack. I '11 to her. 



4 6 MEASURE FOR MEASURE. 

Claudio. I thank you, good friend Lucio. 1S1 

Lucio. Within two hours. 

Claudio. Come, officer, away ! [Exeunt. 

j r ■ 
J. 
*'' Scene III. A Monastery. 

Enter Duke and Friar Thomas. 

Duke. No, holy father; throw away that thought; 
Believe not that the dribbling dart of love 
Can pierce a complete bosom. Why I desire thee 
To give me secret harbour, hath a purpose 
More grave and wrinkled than the aims and ends 
Of burning youth. 

Friar Thomas. May your grace speak of it ? 

Duke. My holy sir, none better knows than you 
How I have ever lov'd the life remov'd, 
And held in idle price to haunt assemblies 
Where youth, and cost, and witless bravery keeps. 10 

I have deliver'd to Lord Angelo, 
A man of stricture and firm abstinence, 
My absolute power and place here in Vienna, 
And he supposes me travell'd to Poland; 
For so I have strew'd it in the common ear, 
And so it is receiv'd. Now, pious sir, 
You will demand of me why I do this? 

Friar Thomas. Gladly, my lord. 

Duke. We have strict statutes and most biting laws, 
The needful bits and curbs to headstrong steeds, 2c 

Which for this fourteen years we have let sleep, 
Even like an o'ergrown lion in a cave, 
That goes not out to prey. Now, as fond fathers, 
Having bound up the threatening twigs of birch, 
Only to stick it in their children's sight 
For terror, not to use, in time the rod 
Becomes more mock'd than fear'd ; so our decrees, 



ACT I. SCENE IV. 47 



\ 



Dead to infliction, to themselves are dead, 

And liberty plucks justice by the nose; 

The baby beats the nurse, and quite athwart 30 

Goes all decorum. 

Friar Thomas. It rested in your grace 
To unloose this tied-up justice when you pleas'd : 
And it in you more dreadful would have seem'd 
Than in Lord Angelo. 

Duke. I do fear, too dreadful. 

Sith 't was my fault to give the people scope, 
'T would be my tyranny to strike and gall them 
For what I bid them do • for we bid this be done, 
When evil deeds have their permissive pass 
And not the punishment. Therefore, indeed, my father, 
I have on Angelo impos'd the office; 40 

Who may, in the ambush of my name, strike home, 
And yet my nature never in the fight 
To do me slander. And to behold his sway, 
I will, as 't were a brother of your order, 
Visit both prince and people ; therefore, I prithee, 
Supply me with the habit, and instruct me 
How I may formally in person bear me 
Like a true friar. More reasons for this action 
At our more leisure shall I render you ; 
Only, this one : Lord Angelo is precise, so 

Stands at a guard with envy, scarce confesses 
That his blood flows or that his appetite 
Is more to bread than stone ; hence shall we see, 
If power change purpose, what our seemers be. [Exeunt. 

Scene IV. A Nunnery. 
Enter Isabella and Francisca. 

Isabella. And have you nuns no farther privileges ? 
Francisca. Are not these large enough ? 



48 MEASURE FOR MEASURE. 

Isabella. Yes, truly; I speak not as desiring more, 
But rather wishing a more strict restraint 
Upon the sisterhood, the votarists of Saint Clare. 

Lucia.- \-l$£ithiti\ Ho ! Peace be in this place ! 

Isabella. * k Who 's that which calls ? 

Francisca. It is a man's voice. Gentle Isabella, 
Turn yoa^the key, and know his business of him. 
You may, I may not; you are yet unsworn. 
When you have vow'd, you must not speak with men 10 

But in the presence of the prioress ; 
Then, if you speak, you must not show your face, 
Or, if you show your face, you must not speak. 
He calls again ; I pray you, answer him. [£xit. 

Isabella. Peace and prosperity ! Who is 't that calls ? 

Enter Lucio. 

Lucio. Hail, virgin, if you be, as those cheek-roses 
Proclaim you are no less ! Can you so stead me 
As bring me to the sight of Isabella, 
A novice of this place and the fair sister 
To her unhappy brother Claudio ? 20 

Isabella. Why her unhappy brother? let me ask, 
The rather for I now must make you know 
I am that Isabella and his sister. 

Lucio. Gentle and fair, your brother kindly greets you. 
Not to be weary with you, he 's in prison. 

Isabella. Woe me ! for what ? 

Lucio. For that which, if myself might be his judge, 
He should receive his punishment in thanks. 
He hath got his friend with child. 

Isabella. Sir, make me not your story. 

Lucio. It is true. 30 

I would not — though 't is my familiar sin 
W r ith maids to seem the lapwing and to jest, 
Tongue far from heart — play with all virgins so. 



ACT I. SCENE IV. 49 

I hold you as a thing enskied and sainted, 
By your renouncement an immortal spirit, 
And to be talk'd with in sincerity, 
As with a saint. 

Isabella. You do blaspheme the good in mocking me. 

Lucio. Do not believe it. Fewness and truth, 't is thus: 
Your brother and his lover have embrac'd ; 40 

As those that feed grow full, as blossoming time 
That from the seedness the bare fallow brings 
To teeming foison, even so her plenteous womb 
Expresseth his full tilth and husbandry. 

Isabella. Some one with child by him ? My cousin Juliet? 

Lucio. Is she your cousin ? 

Isabella. Adoptedly ; as school-maids change their names 
By vain though apt affection. 

Lucio. She it is. 

Lsabella. O, let him marry her ! 

Lucio. This is the point. 

The duke is very strangely gone from hence; so 

Bore many gentlemen, myself being one, 
In hand and hope of action : but we do learn 
By those that know the very nerves of state, 
His givings-out were of an infinite distance 
From his true-meant design. Upon his place, 
And with full line of his authority, 
Governs Lord Angelo; a man whose blood 
Is very snow-broth, one who never feels 
The wanton stings and motions of the sense, 
But doth rebate and blunt his natural edge 60 

With profits of the mind, study and fast. 
He — to give fear to use and liberty, 
Which have for long run by the hideous law, 
As mice by lions — hath pick'd out an act, 
Under whose heavy sense your brother's life 
Falls into forfeit; he arrests him on it, 

D 



5 o MEASURE FOR MEASURE. 

And follows close the rigour of the statute, 

To make him an example. All hope is gone, 

Unless you have the grace by your fair prayer 

To soften Angelo ; and that 's my pith of business 70 

'Twixt you and your poor brother. 

Isabella. Doth he so seek his life ? 

Lucio. Has censur'd him 

Already ; and, as I hear, the provost hath 
A warrant for his execution. 

Isabella. Alas! what poor ability 's in me 
To do him good? 

Lucio. Assay the power you have. 

Isabella. My power? Alas, I doubt — 

Lucio. Our doubts are traitors, 

And make us lose the good we oft might win 
By fearing to, attempt. Go to Lord Angelo, 
And let him learn to know, when maidens sue, 80 

Men give like gods ; but when they weep and kneel, 
All their petitions are as freely theirs 
As they themselves would owe them. 

Isabella. I '11 see what I can do. 

Lucio. But speedily. 

Isabella. I will about it straight, 
No longer staying but to give the mother 
Notice of my affair. I humbly thank you : 
Commend me to my brother ; soon at night 
I '11 send him certain word of my success. 

Lucio. I take my leave of you. 

Isabella. Good sir, adieu. [Exeunt. 





China dishes (ii. i. 91). 



ACT II. 

Scene I. A Hall i?i Angelas House. 

Enter Angelo, Escalus, and a Justice, Provost, Officers, 

and other Attendants, behind. 

Angelo. We must not make a scarecrow of the law, 
Setting it up to fear the birds of prey, 



5 2 MEASURE FOR MEASURE. 

And let it keep one shape, till custom make it 
Their perch and not their terror. 

Escalus. Ay, but yet 

Let us be keen, and rather cut a little, 
Than fall and bruise to death. Alas, this gentleman, 
Whom I would save, had a most noble father ! 
Let but your honour know, 
Whom I believe to be most strait in virtue, 
That, in the working of your own affections, 10 

Had time coher'd with place, or place with wishing, 
Or that the resolute acting of your blood 
Could have attain'd the effect of your own purpose, 
Whether you had not sometime in your life 
Err'd in this point which now you censure him, 
And pull'd the law upon you. 

Angela. T is one thing to be tempted, Escalus, 
Another thing to fall. I not deny, 
The jury, passing on the prisoner's life, 

May in the sworn twelve have a thief or two 20 

Guiltier than him they try. What 's open made to justice, 
That justice seizes; what knows the law 
That thieves do pass on thieves? T is very pregnant, 
The jewel that we find, we stoop and take 't 
Because we see it ; but what we do not see 
We tread upon, and never think of it. 
You may not so extenuate his offence 
For I have had such faults ; but rather tell me, 
When I, that censure him, do so offend, 
Let mine own judgment pattern out my death, 30 

And nothing come in partial. Sir, he must die. 

Escalus. Be it as your wisdom will. 

Angelo. Where is the provost ? 

Provost. Here, if it like your honour. 

Angelo. See that Claudio 

Be executed by nine to-morrow morning. 



ACT II. SCENE I. 



53 



Bring him his confessor, let him be prepar'd ; 
For that 's the utmost of his pilgrimage. [Exit Provost. 

Escalus. [Aside] Well, heaven forgive him ! and forgive 
us all ! 

/Some rise by sin, and some by virtue fall : 
Some run from brakes of vice, and answer nonej; 
And some condemned for a fault alone. / 40 






Enter Elbow, and Officers with Froth and Pompey. 

Elbow. Come, bring them away. If these be good 
people in a commonweal that do nothing but use their 
abuses in common houses, I know no law ; bring them 
away. 

Angelo. How now, sir! What 's your name? and what 's 
the matter? 

Elbow. If it please your honour, I am the poor duke's 
constable, and my name is Elbow. I do lean upon justice, 
sir, and do bring in here before your good honour two no- 
torious benefactors. 50 

Angelo. Benefactors ? Well ; what benefactors are they ? 
are they not malefactors ? 

Elbow. If it please your honour, I know not well what 
they are ; but precise villains they are, that I am sure of, 
and void of all profanation in the world that good Christians 
ought to have. 

Escalus. This comes off well ; here 's a wise officer. 

Angelo. Go to; what quality are they of? Elbow is your 
name ? why dost thou not speak, Elbow ? 

Pompey. He cannot, sir ; he 's out at elbow. 60 

Angelo. What are you, sir ? 

Elbow. He, sir! a tapster, sir, — parcel -bawd; one that 
serves a bad woman, whose house, sir, was, as they say, 
plucked clown in the suburbs ; and now she professes a hot- 
house, which, I think, is a very ill house too. 

Escalus. How know you that ? 



54 



MEASURE FOR MEASURE. 



Elbow. My wife, sir, whom I detest before heaven and 
your honour, — 

Escalus. How ? thy wife ? 

Elbow. Ay, sir ; whom, I thank heaven, is an honest 
woman, — 7 i 

Escalus. Dost thou detest her therefore ? 

Elbow. I say, sir, I will detest myself also, as well as she, 
that this house, if it be not a bawd's house, it is pity of her 
life, for it is a naughty house. 

Escalus. How dost thou know that, constable ? 

Elbow. Marry, sir, by my wife ; who, if she had been a 
woman cardinally given, might have been accused in forni- 
cation, adultery, and all uncleanliness there. 

Escalus. By the woman's means ? 80 

Elbow. Ay, sir, by Mistress Overdone's means ; but as 
she spit in his face, so she defied him. 

Pompey. Sir, if it please your honour, this is not so. 

Elbow. Prove it before these varlets here, thou honourable 
man ; prove it. 

Escalus. Do you hear how he misplaces ? 

Pompey. Sir, she came in great with child, and longing, 
saving your honour's reverence, for stewed prunes ; sir, we 
had but two in the house, which at that very distant time 
stood, as it were, in a fruit-dish, a dish of some three-pence : 
your honours have seen such dishes ; they are not China 
dishes, but very good dishes, — 92 

Escalus. Go to, go to ; no matter for the dish, sir. 

Pompey. No, indeed, sir, not of a pin ; you are therein in 
the right : but to the point. As I say, this Mistress Elbow, 
being, as I say, with child, and being great-bellied, and long- 
ing, as I said, for prunes, and having but two in the dish, as 
I said, Master Froth here, this very man, having eaten the 
rest, as I said, and, as I say, paying for them very honestly, — 
for, as you know, Master Froth, I could not give you three- 
pence again. roi 



ACT II. SCENE I. 55 

Froth. No, indeed. 

Pompey. Very well ; you being then, if you be remem- 
bered, cracking the stones of the foresaid prunes, — 

Froth. Ay, so I did indeed. 

Pompey. Why, very well ; I telling you then, if you be re- 
membered, that such a one and such a one were past cure 
of the thing you wot of, unless they kept very good diet, as I 
told you, — 

Froth. All this is true. "° 

Pompey. Why, very well, then, — 

Escalus. Come, you are a tedious fool ; to the purpose. 
What was done to Elbow's wife, that he hath cause to com- 
plain of? Come me to what was clone to her. 

Pompey. Sir, your honour cannot come to that yet. 

Escalus. No, sir, nor I mean it not. 

Pompey. Sir, but you shall come to it, by your honour's 
leave. And, I beseech you, look into Master Froth here, 
sir ; a man of fourscore pound a year, whose father died at 
Hallowmas. — Was 't not at Hallowmas, Master Froth ? 120 

Froth. All-hallownd eve. 

Pompey. Why, very well ; I hope here be truths. He, sir, 
sitting, as I say, in a lower chair, sir, — 't was in the Bunch 
of Grapes, where indeed you have a delight to sit, have you 
not ? 

Froth. I have so ; because it is an open room and good 
for winter. 

Pompey. Why, very well, then ; I hope here be truths. 

Angelo. This will last out a night in Russia, 
When nights are longest there. I '11 take my leave, 130 

And leave you to the hearing of the cause, 
Hoping you '11 find good cause to whip them all. 

Escalus. I think no less. Good morrow to your lord- 
ship.— [Exit Angelo. 
Now, sir, come on ; what was done to Elbow's wife, once 



5 6 MEASURE FOR MEASURE. 

Pompey. Once, sir ? there was nothing done to her once. 

Elbow. I beseech you, sir, ask him what this man did to 
my wife. 

Pompey. I beseech your honour, ask me. 

Escalus. Well, sir, what did this gentleman to her ? i 4 o 

Pompey. I beseech you, sir, look in this gentleman's face. — 
Good Master Froth, look upon his honour ; 't is for a good 
purpose. — Doth your honour mark his face ? 

Escalus. Ay, sir, very well. 

Pompey. Nay, I beseech you, mark it well. 

Escalus. Well, I do so. 

Po?npey. Doth your honour see any harm in his face ? 

Escalus. Why, no. 

Pompey. I '11 be supposed upon a book, his face is the 
worst thing about him. Good, then ; if his face be the worst 
thing about him, how could Master Froth do the constable's 
wife any harm? I would know that of your honour. 152 

Escalus. He 's in the right. Constable, what say you to 
it? 

Elbow. First, an it like you, the house is a respected 
house ; next, this is a respected fellow, and his mistress is 
a respected woman. 

Pompey. By this hand, sir, his wife is a more respected 
person than any of us all. « 

Elbow. Varlet, thou liest ; thou liest, wicked varlet ! the 
time is yet to come that she was ever respected with man, 
woman, or child. 162 

Pompey. Sir, she was respected with him before he married 
with her. 

Escalus. Which is the wiser here ? Justice or Iniquity ? — 
Is this true ? 

Elbow. O thou caitiff! O thou varlet! O thou wicked 
Hannibal ! I respected with her before I was married to 
her! — If ever I was respected with her, or she with me, let 
not your worship think me the poor duke's officer. — Prove 



ACT II. SCENE I. 57 

this, thou wicked Hannibal, or I '11 have mine action of bat- 
tery on thee. 1?2 

Escalus. If he took you a box o' the ear, you might have 
your action of slander too. 

Elbow. Marry, I thank your good worship for it. What 
is 't your worship's pleasure I shall do with this wicked 
caitiff? 

Escalus. Truly, officer, because he hath some offences in 
him that thou wouldst discover if thou couldst, let him con- 
tinue in his courses till thou knowest what they are. i8o 

Elbow. Marry, I thank your worship for it. — Thou seest, 
thou wicked varlet, now, what 's come upon thee : thou art 
to continue now, thou varlet ; thou art to continue. 

Escalus. Where were you born, friend ? 

Eroth. Here in Vienna, sir. 

Escalus. Are you of fourscore pounds a year? 

Froth. Yes, an 't please you, sir. 

Escalus. So. — What trade are you of, sir ? 

Pompey. A tapster; a poor widow's tapster. 

Escalus. Your mistress' name ? 190 

Pompey. Mistress Overdone. 

Escalus. Hath she had any more than one husband ? 

Pompey. Nine, sir; Overdone by the last. 
■+* Escalus. Nine ! — Come hither to me, Master Froth. Mas- 
ter Froth, I would not have you acquainted with tapsters ; 
they will draw you, Master Froth, and you will hang them. 
Get you gone, and let me hear no more of you. 

Froth. I thank your worship. For mine own part, I never 
come into any room in a taphouse, but I am drawn in. 199 

Escalus. Well, no more of it, Master Froth : farewell. — 
[Exit Froth.] Come you hither to me, Master Tapster. 
What 's your name, Master Tapster? 

Pompey. Pompey. 

Escalus. What else? 

Pompey. Bum, sir. 



5 8 MEASURE FOR MEASURE. 

Escalus. Troth, and your bum is the greatest thing about 
you ; so that in the beastliest sense you are Pompey the 
Great. Pompey, you are partly a bawd, Pompey, howsoever 
you colour it in being a tapster, are you not ? come, tell me 
true; it shall be the better for you. 210 

Pompey. Truly, sir, I am a poor fellow that would live. 

Escalus. How would you live, Pompey ? by being a bawd ? 
What do you think of the trade, Pompey ? is it a lawful 
trade ? 

Pompey. If the law would allow it, sir. 

Escalus. But the law will not allow it, Pompey; nor it 
shall not be allowed in Vienna. 

Pofnpey. Does your worship mean to geld and spay all 
the youth of the city ? 

Escalus. No, Pompey. 220 

Po?npey. Truly, sir, in my poor opinion, they will to 't then. 
If your worship will take order for the drabs and the knaves, 
you need not to fear the bawds. 

Escalus. There are pretty orders beginning, I can tell you ; 
it is but heading and hanging. 

Pompey. If you head and hang all that offend that way but 
for ten year together, you '11 be glad to give out a commission 
for more heads. If this law hold in Vienna ten year, I '11 
rent the fairest house in it after three-pence a day. If you 
live to see this come to pass, say Pompey told you so. 230 

Escalus. Thank you, good Pompey; and, in requital of your 
prophecy, hark you : I advise you, let me not find you before 
me again upon any complaint whatsoever: no, not for dwell- 
ing where you do. If I do, Pompey, I shall beat you to your 
tent, and prove a shrewd Caesar to you; in plain dealing, 
Pompey, I shall have you whipt. So, for this time, Pompey, 
fare you well. 

Pompey. I thank your worship for your good counsel ; 
[Aside] but I shall follow it as the flesh and fortune shall 
better determine. 240 



ACT II. SCENE I. 



59 



Whip me ? No, no; let carman whip his jade ; 

The valiant heart is not whipt out of his trade. [Exit. 

Escalus. Come hither to me, Master Elbow; come hither, 
Master Constable. How long have you been in this place 
of constable? 

Elbow. Seven year and a half, sir. 

Escalus. I thought, by your readiness in the office, you 
had continued in it some time. You say, seven years to- 
gether ? 

Elbow. And a half, sir. 250 

Escalus. Alas, it hath been great pains to you. They do 
you wrong to put you so oft upon 't. Are there not men in 
your ward sufficient to serve it? 

Elbow. Faith, sir, few of any wit in such matters. As they 
are chosen, they are glad to choose me for them; I do it for 
some piece of money, and go through with all. 

Escalus. Look you bring me in the names of some six or 
seven, the most sufficient of your parish. 

Elbozv. To your worship's house, sir? 

Escalus. To my house. Fare you well. — [Exit Elbow. 
What 's o'clock, think you? 261 

Justice. Eleven, sir. 

Escalus. I pray you home to dinner with me. 

Justice. I humbly thank you. 

Escalus. It grieves me for the death of Claudio; 
But there 's no remedy. 

Justice. Lord Angelo is severe. 

Escalus. It is but needful. 

1 Mercy is not itself, that oft looks so ; 
Pardon is still the nurse of second woe. 
But yet, — poor Claudio ! There is no remedy. 270 

Come, sir. [Exeunt. 



6o MEASURE FOR MEASURE. 



Scene II. Another Room in the Same. 
Enter Provost and a Servant. 
Servant. He 's hearing of a cause; he will come straight. 
I '11 tell him of you. 

Provost. Pray you, do. — [Exit Servant.'] I '11 know 

His pleasure; may be he will relent. Alas, 
He hath but as offended in a dream ! 
All sects, all ages smack of this vice; and he 
To die for 't !— 

Enter Angelo. 

Angelo. Now, what 's the matter, provost? 

Provost. Is it your will Claudio shall die to-morrow? 

Angelo. Did not I tell thee yea? hadst thou not order? 
Why dost thou ask again ? 

Provost. Lest I might be too rash. 

Under your good correction, I have seen, 10 

When, after execution, judgment hath 
Repented o'er his doom. 

Angelo. Go to; let that be mine. 

Do you your office, or give up your place, 
And you shall well be spar'd. 

Provost. I crave your honour's pardon. 

What shall be done, sir, with the groaning Juliet? 
She 's very near her hour. 

Angelo. Dispose of her 

To some more fitter place, and that with speed. 

Re-enter Servant. 

Servant. Here is the sister of the man condemn'd 
Desires access to you. 

Angelo. Hath he a sister? 

Provost. Ay, my good lord ; a very virtuous maid, 20 

And to be shortly of a sisterhood, 
If not already. 



ACT II. SCENE II. 6 1 

Angelo. Well, let her be admitted. — [Exit Servant. 

See you the fornicatress be remov'd : 
Let her have needful but not lavish means ; 
There shall be order for 't! 

Enter Isabella and Lucio. 

Provost. Save your honour ! 

Angelo. Stay a little while. — [To Isabella] You 're wel- 
come ; what 's your will ? 

Isabella. I am a woful suitor to your honour, 
Please but your honour hear me. 

Afigelo. Well, what 's your suit? 

Isabella. There is a vice that most I do abhor, 
And most desire should meet the blow of justice; 3 o 

For which I would not plead, but that I must ; 
For which I must not plead, but that I am 
At war 'twixt will and will not. 

Angelo. Well, the matter ? 

Isabella. I have a brother is condemn'd to die; 
I do beseech you, let it be his fault, 
And not my brother. 

Provost. [Aside] Heaven give thee moving graces ! 

Angelo. Condemn the fault, and not the actor of it ? 
Why, every fault 's condemn'd ere it be done. 
Mine were the very cipher of a function, 
To fine the faults whose fine stands in record, 40 

And let go by the actor. 

Isabella. O just but severe law ! 

I had a brother, then. Heaven keep your honour ! 

lucio. [Aside to Isabella] Give 't not o'er so : to him again, 
entreat him; 
Kneel down before him, hang upon his gown. 
You are too cold; if you should need a pin, 
You could not with more tame a tongue desire it. 
To him, I say ! 



6 2 MEASURE FOR MEASURE. 

Isabella. Must he needs die ? 

Afigelo. Maiden, no remedy. 

Isabella. Yes; I do think that you might pardon him, 
And neither heaven nor man grieve at the mercy. 5° 

Angelo. I will not do 't. 

Isabella. But can you, if you would ? 

Angelo. Look, what I will not, that I cannot do. 

Isabella. But might you do 't, and do the world no wrong, 
If so your heart were touch'd with that remorse 
As mine is to him ? 

Angelo. He 's sentenc'd; 't is too late. 

Lucio. {Aside to Isabella} You are too cold. 

Isabella. Too late? why, no; I, that do speak a word, 
May call it back again. Well believe this, 
No ceremony that to great ones longs, 

Not the king's crown, nor the deputed sword, 60 

The marshal's truncheon, nor the judge's robe, 
Become them with one half so good a grace 
As mercy does. 

If he had been as you and you as he, 
You would have slipt like him ; but he like you 
Would not have been so stern. 

Angelo. Pray you, be gone. 

Isabella. I would to heaven I had your potency, 
And you were Isabel ! should it then be thus? 
No ; I would tell what 't were to be a judge, 
And what a prisoner. 

Lucio. [Aside to Isabella] Ay, touch him; there 's the 
vein. 70 

Angelo. Your brother is a forfeit of the law, 
And you but waste your words. 

Isabella. Alas, alas ! 

Why, all the souls that were were forfeit once, 
And He that might the vantage best have took 
Found out the remedy. How would you be, 



ACT II. SCENE II. 63 

If He, which is the top of judgment, should 
But judge you as you are ? O, think on that ! 
And mercy then will breathe within your lips, 
Like man new made. 

Angelo. Be you content, fair maid; 

It is the law, not I condemn your brother. so 

Were he my kinsman, brother, or my son, 
It should be thus with him; he must die to-morrow. 

Isabella. To - morrow ! O, that 's sudden ! Spare him, 
spare him ! 
He 's not prepar'd for death. Even for our kitchens 
We kill the fowl of season ; shall we serve heaven 
With less respect than we do minister 
To our gross selves ? Good, good my lord, bethink you ; 
Who is it that hath died for this offence ? 
There 's many have committed it. 

Lucio. [Aside to Isabella} Ay, well said. 89 

Angelo. The law hath not been dead, though it hath slept. 
Those many had not dar'd to do that evil, 
If the first that did the edict infringe 
Had answer'd for his deed ; now 't is awake, 
Takes note of what is done, and, like a prophet, 
Looks in a glass, that shows what future evils, 
Either new, or by remissness new-conceiv'd, 
And so in progress to be hatch'd and born, 
Are now to have no successive degrees, 
But, ere they live, to end. 

Isabella. Yet show some pity. 

Angelo. I show it most of all when I show justice; ico 

For then I pity those I do not know, 
Which a dismiss'd offence would after gall, 
And do him right that, answering one foul wrong, 
Lives not to act another. Be satisfied ; 
Your brother dies to-morrow ; be content. 

Isabella. So you must be the first that gives this sentence, 



f 



64 MEASURE FOR MEASURE. 

And he that suffers. O, it is excellent 

To have a giant's strength, but it is tyrannous 

To use it like a giant. 

Lucio. [Aside to Isabel/a] That 's well said. 

Isabella. Could great men thunder no 

As Jove himself does, Jove would ne'er be quiet, 
For every pelting, petty officer 
Would use his heaven for thunder; 
Nothing but thunder ! Merciful Heaven, 
Thou rather with thy sharp and sulphurous bolt 
Split'st the unwedgeable and gnarled oak 
Than the soft myrtle; but man, proud man, 
Drest in a little brief authority, 
Most ignorant of what he 's most assur'd, 
His glassy essence, like an angry ape, 120 

Plays such fantastic tricks before high heaven 
As make the angels weep, who, with our spleens, 
Would all themselves laugh mortal. 

Lucio. [Aside to Isabella] O, to him, to him, wench ! he will 
relent : 
He 's coming; I perceive 't. 

Provost. [Aside] Pray heaven she win him ! 

Isabella. We cannot weigh our brother with ourself. 
Great men may jest with saints; 't is wit in them, 
But in the less foul profanation. 

Lucio. Thou 'rt i' the right, girl ; more o' that. 

Isabella. That in the captain 's but a choleric word 130 
Which in the soldier is flat blasphemy. 

Lucio. [Aside to Isabella] Art avis'd o' that? more on 't. 

Angelo. Why do you put these sayings upon me ? 

Isabella. Because authority, though it err like others, 
Hath yet a kind of medicine in itself, 
That skins the vice o' the top. Go to your bosom ; 
Knock there, and ask your heart what it doth know 
That 's like my brother's fault : if it confess 



ACT II. SCENE II. 65 

A natural guiltiness such as is his, 

Let it not sound a thought upon your tongue 140 

Against my brother's life. 

Angelo. [Aside] She speaks, and 't is 

Such sense, that my sense breeds with it. — Fare you well. 

Isabella. Gentle my lord, turn back. 

Angelo. I will bethink me ; come again to-morrow. 

Isabella. Hark how I '11 bribe you ; good my lord, turn 
back. 

Angelo. How ! bribe me ? 

Isabella. Ay, with such gifts that heaven shall share with 
you. 

Incio. [Aside to Isabella} You had marr'd all else. 

Isabella. Not with fond shekels of the tested gold, 
Or stones whose rates are either rich or poor 150 

As fancy values them, but with true prayers 
That shall be up at heaven and enter there 
Ere sunrise, prayers from preserved souls, 
From fasting maids whose minds are dedicate 
To nothing temporal. 

Angelo. Well ; come to me to-morrow. 

Lucio. [Aside to Isabella} Go to ■ 't is well ; away ! 

Isabella. Heaven keep your honour safe ! 

Afigelo. [Aside] Amen ; 

For I am that way going to temptation, 
Where prayers cross. 

Isabella. At what hour to-morrow 

Shall I attend your lordship ? 

Angelo. At any time fore noon. 160 

Isabella. Save your honour ! 

[Exeunt Isabella, Lucio, and Provost. 

Angelo. From thee, — even from thy virtue ! 

What 's this, what 's this ? Is this her fault or mine ? 
The tempter or the tempted, who sins most? Ha ! 
Not she \ nor doth she tempt: but it is I 

E 



66 MEASURE FOR MEASURE. 

That, lying by the violet in the sun, 

Do as the carrion does, not as the flower, 

Corrupt with virtuous season. Can it be 

That modesty may more betray our sense 

Than woman's lightness ? Having waste ground enough, 

Shall we desire to raze the sanctuary 170 

And pitch our evils there ? O, fie, fie, fie ! 

What dost thou, or what art thou, Angelo ? 

Dost thou desire her foully for those things 

That make her good? O, let her brother live ! 

Thieves for their robbery have authority 

When judges steal themselves. What! do I love her, 

That I desire to hear her speak again, 

And feast upon her eyes ? What is 't I dream on ? 

O cunning enemy, that, to catch a saint, 

W T ith saints dost bait thy hook ! Most dangerous 180 

Is that temptation that doth goad us on 

To sin in loving virtue. Never could the strumpet, 

With all her double vigour, art and nature, 

Once stir my temper, but this virtuous maid 

Subdues me quite. Ever till now, 

When men were fond, I smiPd and wonder'd how. [Exit. 



Scene III. A Roo?n in a Prison. 
Enter ', severally, Duke, disguised as a friar, and Provost. 

Duke. Hail to you, provost ! — so I think you are. 

Provost. I am the provost. What 's your will, good friar ? 

Duke. Bound by. my charity and my blest order, 
I come to visit the afflicted spirits 
Here in the prison. Do me the common right 
To let me see them and to make me know 
The nature of their crimes, that I may minister 
To them accordingly. 

Provost. I would do more than that, if more were needful. 



ACT II. SCENE III. 67 

Enter Juliet. 
Look, here comes one ; a gentlewoman of mine, 1Q 

Who, falling in the flames of her own youth, 
Hath blister'd her report. She is with child ; 
And he that got it, sentenced — a young man 
More fit to do another such offence 
Than die for this. 
. Duke. When must he die ? 

Provost. As I do think, to-morrow. — 

[To Juliet] I have provided for you ; stay awhile, 
And you shall be conducted. 

Duke. Repent you, fair one, of the sin you carry ? • 

Juliet. I do, and bear the shame most patiently. 20 

Duke. I '11 teach you how you shall arraign your con- 
science, 
And try your penitence, if it be sound, 
Or hollowly put on. 

Juliet. ' I '11 gladly learn. 

Duke. Love you the man that wrong'd you ? 

Juliet. Yes, as I love the woman that wrong'd him. 

Duke. So then it seems your most offenceful act 
Was mutually committed? 

Juliet. Mutually. 

Duke. Then was your sin of heavier kind than his. 

Juliet. I do confess it, and repent it, father. 

Duke. 'T is meet so, daughter ; but lest you do repent, 3a 
As that the sin hath brought you ta this shame, 
Which sorrow is always towards ourselves, not heaven, 
Showing we would not spare heaven as we love it, 
But as we stand in fear, — 

Juliet. I do repent me, as it is an evil, 
And take the shame with joy. 

Duke. There rest. 

Your partner, as I hear, must die to-morrow, 



68 MEASURE FOR MEASURE. 

And I am going with instruction to him. 

Grace go with you ! Benedicite ! [Exit. 

Juliet. Must die to-morrow ! O injurious law, 40 

That respites me a life, whose very comfort 
Is still a dying horror! 

Provost. 'T is pity of him. [Exeunt. 

Scene IV. A Room in Angelo's House. 

Enter Angelo. 

Angelo. When I would pray and think, I think and pray 
To several subjects. Heaven hath my empty words, 
Whilst my invention, hearing not my tongue, 
Anchors on Isabel ; Heaven in my mouth, 
As if I did but only chew his name, 
And in my heart the strong and swelling evil 
Of my conception. The state whereon I studied, 
Is like a good thing, being often read, 
Grown sear'd and tedious ; yea, my gravity, 
Wherein — let no man hear me — I take pride, 10 

Could I with boot change for an idle plume, 
Which the air beats for vain. O place, O form, 
How often dost thou with thy case, thy habit, 
Wrench awe from fools and tie the wiser souls 
To thy false seeming ! Blood, thou art blood; 
Let 's write good angel on the devil's horn, 
'T is not the devil's crest. — 

Enter a Servant. 

How now ! who 's there ? 
Servant. One Isabel, a sister, desires access to you. 
Angelo. Teach her the way. — [Exit Servant.'] O heavens ! 
Why does my blood thus muster to my heart, 20 

Making both it unable for itself, 
And dispossessing all my other parts 
Of necessary fitness? 



ACT II. SCENE IV. 6 9 

So play the foolish throngs with one that swoons, — 
Come all to help him, and so stop the air 
By which he should revive ; and even so 
The general, subject to a well-wish'd king, 
Quit their own part, and in obsequious fondness 
Crowd to his presence, where their untaught love 
Must needs appear offence. — 

Enter Isabella. 

How now, fair maid? 30 

Isabella. I am come to know your pleasure. 

Angelo. That you might know it, would much better please 
me 
Than to demand what 't is. Your brother cannot live. 

Isabella. Even so. — Heaven keep your honour ! 

Angelo. Yet may he live awhile, and, it may be, 
As long as you or I ; yet he must die. 

Isabella. Under your sentence ? 

Angelo. Yea. 

Isabella. When, I beseech you ? that in his reprieve, 
Longer or shorter, he may be so fitted 4 o 

That his soul sicken not. 

Angelo. Ha ! fie, these filthy vices ! It were as good 
To pardon him that hath from nature stolen 
A man already made, as to remit 
Their saucy sweetness that do coin heaven's image 
In stamps that are forbid ; 't is all as easy 
Falsely to take away a life true made 
As to put metal in restrained means 
To make a false one. 

Isabella. 'T is set down so in heaven, but not in earth. 50 

Angelo. Say you so ? then I shall pose you quickly. 
Which had you rather, that the most just law 
Now took your brother's life, or, to redeem him, 
Give up your body to such sweet uncleanness 
As she that he hath stain'd? 



70 MEASURE FOR MEASURE. 

Isabella. Sir, believe this, 

I had rather give my body than my soul. 

Afigelo. I talk not of your soul; our compell'd sins 
Stand more for number than for accompt. 

Isabella. How say you ? 

Afigelo. Nay, I '11 not warrant that; for I can speak 
Against the thing I say. Answer to this : 60 

I, now the voice of the recorded law, 
Pronounce a sentence on your brother's life ; 
Might there not be a charity in sin 
To save this brother's life ? 

Isabella. Please you to do 't, 

I '11 take it as a peril to my soul, 
It is no sin at all, but charity. 

Angelo. Pleas'd you to do 't at peril of your soul, 
Were equal poise of sin and charity. 

Isabella. That I do beg his life, if it be sin, 
Heaven let me bear it! you granting of my suit, 70 

If that be sin, I '11 make it my morn prayer 
To have it added to the faults of mine, 
And nothing of your answer. 

Angelo. Nay, but hear me. 

Your sense pursues not mine ; either you are ignorant, 
Or seem so craftily, and that 's not good. 

Isabella. Let me be ignorant, and in nothing good, 
But graciously to know I am no better. 

Angelo. Thus wisdom wishes to appear most bright, 
When it doth tax itself; as these black masks 
Proclaim an enshield beauty ten times louder So 

Than beauty could, display'd. But mark me ; 
To be received plain, I '11 speak more gross. 
Your brother is to die. 

Isabella. So. 

Angelo. And his offence is so, as it appears 
Accountant to the law upon that pain. 



ACT II. SCENE IV. 71 

Isabella. True. 

Angelo. Admit no other way to save his life, — 
As I subscribe not that, nor any other, 
But in the loss of question,— that you, his sister, 9° 

Finding yourself desir'd of such a person, 
Whose credit with the judge, or own great place, 
Could fetch your brother from the manacles 
Of the all-holding law, and that there were 
No earthly mean to save him, but that either 
You must lay down the treasures of your body 
To this suppos'd, or else to let him suffer, 
What would you do ? 

Isabella. As much for my poor brother as myself: 
That is, were I under the terms of death, «» 

The impression of keen whips I 'd wear as rubies, 
And strip myself to death, as to a bed 
That longing I 've been sick for, ere I 'd yield 
My body up to shame. 

Angelo. Then must your brother die. 

Isabella. And 't were the cheaper way. 
Better it were a brother died at once, 
Than that a sister, by redeeming him, 
Should die for ever. 

Angelo. Were not you then as cruel as the sentence 
That you have slander'd so ? "' 

Isabella. Ignomy in ransom and free pardon 
Are of two houses ; lawful mercy 
Is nothing kin to foul redemption. 

Angelo. You seem'd of late to make the law a tyrant, 
And rather prov'd the sliding of your brother 
A merriment than a vice. 

Isabella. O, pardon me, my lord; it oft falls out, 
To have what we would have, we speak not what we mean. 
I something do excuse the thing I hate, 
For his advantage'that I dearly love. " 



72 MEASURE FOR MEASURE. 

Angclo. We are all frail. 

Isabella. Else let my brother die, 

If not a fedary but only he 
Owe and succeed thy weakness. 

Angelo. Nay, women are frail too. 

Isabella. Ay, as the glasses where they view themselves, 
Which are as easy broke as they make forms. 
Women ! Help Heaven ! men their creation mar 
In profiting by them. Nay, call us ten times frail; 
For we are soft as our complexions are, 
And credulous to false prints. 

Angelo. I think it well; « 3 o 

And from this testimony of your own sex, — 
Since I suppose we are made to be no stronger 
Than faults may shake our frames, — let me be bold; 
I do arrest your words. Be that you are, 
That is, a woman; if you be more, you 're none; 
If you be one, as you are well express'd 
By all external warrants, show it now, 
By putting on the destin'd livery. 

Isabella. I have no tongue but one; gentle my lord, 
Let me entreat you speak the former language. , 4 o 

A?igelo. Plainly conceive, I love you. 

Isabella. My brother did love Juliet, 
And you tell me that he shall die for it. 

Angelo. He shall not, Isabel, if you give me love. 

Isabella. I know your virtue hath a license in 't, 
Which seems a little fouler than it is, 
To pluck on others. 

Angelo. Believe me, on mine honour, 

My words express my purpose. 

Isabella. Ha ! little honour to be much believ'd, 
And most pernicious purpose ! Seeming, seeming ! i 5 o 

I will proclaim thee, Angelo ; look for 't ! 
Sign me a present pardon for my brother* 



ACT II SCENE IK 73 

Or with an outstretch'd throat I '11 tell the world aloud 
What man thou art. 

Angelo. Who will believe thee, Isabel ? 

My unsoil'd name, the austereness of my life, 
My vouch against you, and my place i' the state, 
Will so your accusation overweigh, 
That you shall stifle in your own report 
And smell of calumny. I have begun, 

And now I give my sensual race the rein: 160 

Fit thy consent to my sharp appetite ; 
Lay by all nicety and prolixious blushes, 
That banish what they sue for; redeem thy brother 
By yielding up thy body to my will, 
Or else he must not only die the death, 
But thy unkindness shall his death draw out 
To lingering sufferance. Answer me to-morrow, 
Or, by the affection that now guides me most, 
I '11 prove a tyrant to him. As for you, ,6 9 

Say what you can, my false o'erweighs your true. [Exit. 

Isabella. To whom should I complain ? Did I tell this, 
Who would believe me ? O perilous mouths, 
That bear in them one and the self-same tongue, 
Either of condemnation or approof; 
Bidding the law make court'sy to their will, 
Hooking both right and wrong to the appetite, 
To follow as it draws ! I '11 to my brother. 
Though he hath fall'n by prompture of the blood, 
Yet hath he in him such a mind of honour, 
That, had he twenty heads to tender down 180 

On twenty bloody blocks, he 'd yield them up, 
Before his sister should her body stoop 
To such abhorr'd pollution. 
Then, Isabel, live chaste, and, brother, die; 
More than our brother is our chastity. 
I '11 tell him yet of Angelo's request, 
And fit his mind to death, for his soul's rest. \Exit. 







STREET BEFORE THE PRISON (SCENE II.). 



ACT III. 

Scene I. A Room in the Prison. 

Enter Duke disguised as before, Claudio, and Provost. 

Duke. So then you hope of pardon from Lord Angelo ? 
Claudio. The miserable have no other medicine 



ACT III. SCENE I. 75 

But only hope. 

I 've hope to live, and am prepar'd to die. 

Duke. Be absolute for death ; either death or life 
Shall thereby be the sweeter. Reason thus with lifer 
If I do lose thee, I do lose a thing 
That none but fools would keep; a breath thou art, 
Servile to all the skyey influences, 

That dost this habitation where thou keep'st IO 

Hourly afflict. Merely, thou art death's fool; 
For him thou labour'st by thy flight to shun, 
And yet runn'st toward him still. Thou art not noble; 
For all the accommodations that thou bear'st 
Are nurs'd by baseness. Thou 'rt by no means valiant; 
For thou dost fear the soft and tender fork 
Of a poor worm. Thy best of rest is sleep, 
And that thou oft provok'st; yet grossly fear'st 
Thy death, which is no more. Thou art not thyself; 
For thou exist'st on many a thousand grains 20 

That issue out of dust. Happy thou art not; 
For what thou hast not, still thou striv'st to get, 
And what thou hast, forget'st. Thou art not certain ; 
For thy complexion shifts to strange effects, 
After the moon. If thou art rich, thou 'rt poor; 
For, like an ass whose back with ingots bows, 
Thou bear'st thy heavy riches but a journey, 
And death unloads thee. Friend hast thou none; 
For thine own bowels, which do call thee sire, 
The mere effusion of thy proper loins, 30 

Do curse the gout, serpigo, and the rheum, 
For ending thee no sooner. Thou hast nor youth nor age, 
But, as it were, an after-dinner's sleep, 
Dreaming on both; for all thy blessed youth 
Becomes as aged, and doth beg the alms 
Of palsied eld ; and when thou art old and rich, 
Thou hast neither heat, affection, limb, nor beauty, 



76 MEASURE FOR MEASURE. 

To make thy riches pleasant. What 's yet in this 

That bears the name of life? Yet in this life 

Lie hid moe thousand deaths; yet death we fear, 4 o 

That makes these odds all even. 

Clandio. I humbly thank you. 

To sue to live, I find I seek to die, 
And, seeking death, find life; let it come on. 

Isabella. [ Withiri\ What, ho ! Peace here ; grace and 
good company ! 

Provost. Who 's there ? come in ; the wish deserves a wel- 
come. 

Duke. Dear sir, ere long I '11 visit you again. 

Claudio. Most holy sir, I thank you. 

Enter Isabella. 

Isabella. My business is a word or two with Claudio. 

Provost. And very welcome. — Look, signior, here 's your 
sister. 

Duke. Provost, a word with you. 50 

Provost. As many as you please. 

Duke. Bring me to hear them speak, where I may be con- 
cealed. [Exeunt Duke and Provost. 

Claudio. Now, sister, what 's the comfort ? 

Isabella. Why? 

As all comforts are ; most good, most good indeed. 
Lord Angelo, having affairs to heaven, 
Intends you for his swift ambassador, 
Where you shall be an everlasting lieger. 
Therefore your best appointment make with speed; 
To-morrow you set on. 

Claudio. Is there no remedy ? 60 

Isabella. None, but such remedy as, to save a head, 
To cleave a heart in twain. 

Claudio. But is there any? 

Isabella. Yes, brother, you may live ; 



ACT III. SCENE I. 77 

There is a devilish mercy in the judge, 
If you '11 implore it, that will free your life, 
But fetter you till death. 

Claudio. Perpetual durance ? 

Isabella. Ay, just; perpetual durance, a restraint, 
Though all the world's vastidity you had, 
To a determin'd scope. 

Claudio. But in what nature ? 

Isabella. In such a one as, you consenting to 't, . 70 

Would bark your honour from that trunk you bear, 
And leave you naked. 

Claudio. Let me know the point. 

Isabella. O, I do fear thee, Claudio ; and I quake, 
Lest thou a feverous life shouldst entertain, 
And six or seven winters more respect 
Than a perpetual honour. Dar'st thou die ? 
The sense of death is most in apprehension; 
And the poor beetle, that we tread upon, 
In corporal sufferance finds a pang as great 
As when a giant dies. 

Claudio. Why give you me this shame? 80 

Think you I can a resolution fetch 
From flowery tenderness ? If I must die, 
I will encounter darkness as a bride r 
And hug it in mine arms. 

Isabella. There spake my brother; there my father's grave 
Did utter forth a voice. Yes, thou must die ; 
Thou art too noble to conserve a life 
In base appliances. This outward-sainted deputy, 
Whose settled visage and deliberate word 
Nips youth i' the head, and follies doth emmew 90 

As falcon doth the fowl, is yet a devil; 
His filth within being cast, he would appear 
A pond as deep as hell. 

Claudio. The priestly Angelo ! 



7 8 MEASURE FOR MEASURE. 

Isabella. O, 't is the cunning livery of hell, 
The damned'st body to invest and cover 
In priestly guards ! Dost thou think, Claudio ? 
If I would yield him my virginity, 
Thou mightst be freed. 

Claudio. O heavens ! it cannot be. 

Isabella. Yes, he would give 't thee, from this rank of- 
fence, 
So to offend him still. This night 's the time 100 

That I should do what I abhor to name, 
Or else thou diest to-morrow. 

Claudio. Thou shalt not do 't. 

Isabella. O, were it but my life, 
I 'd throw it clown for your deliverance 
As frankly as a pin. 

Claudio. Thanks, dear Isabel. 

Isabella. Be ready, Claudio, for your death to-morrow. 

Claudio. Yes. Has he affections in him, 
That thus can make him bite the law by the nose, 
When he would force it? Sure, it is no sin; 
Or of the deadly seven it is the least. no 

Isabella. Which is the least? 

Claudio. If it were damnable, he being so wise, 
Why would he for the momentary trick 
Be perdurably fin'd ? — O Isabel ! 

Isabella. What says my brother ? 

Claudio. Death is a fearful thing. 

Isabella. And shamed life a hateful. 

Claudio. Ay, but to die, and go we know not where ; 
To lie in cold obstruction and to rot ; 
This sensible warm motion to become 

A kneaded clod; and the delighted spirit 120 

To bathe in fiery floods, or to reside 
In thrilling region of thick-ribbed ice; 
To be imprison'd in the viewless winds, 



ACT III. SCENE I. 79 

And blown with restless violence round about 

The pendent world; or to be worse than worst 

Of those that lawless and incertain thought 

Imagine howling ! — 't is too horrible ! 

The weariest and most loathed worldly life 

That age, ache, penury, and imprisonment 

Can lay on nature is a paradise i 3c 

To what we fear of death. 

Isabella. Alas, alas ! 

Claudio. Sweet sister, let me live. 

What sin you do to save a brother's life, 
Nature dispenses with the deed so far 
That it becomes a virtue. 

Isabella. O you beast ! 

faithless coward! O dishonest wretch! 
Wilt thou be made a man out of my vice? 
Is 't not a kind of incest to take life 

From thine own sister's shame? What should I think? 

Heaven shield my mother play'd my father fair! , 40 

For such a warped slip of wilderness 

Ne'er issued from his blood. Take my defiance ! 

Die, perish ! Might but my bending down 

Reprieve thee from thy fate, it should proceed. 

1 '11 pray a thousand prayers for thy death, 
No word to save thee. 

Claudio. Nay, hear me, Isabel. 

Isabella. O, fie, fie, fie ! 

Thy sin 's not accidental, but a trade. 
Mercy to thee would prove itself a bawd; 
'T is best that thou diest quickly. 

Claudio. O hear me, Isabella ! i S o 

Re-enter Duke. 

Duke. Vouchsafe a word, young sister, but one word. 
Isabella. What is your will ? 



8o MEASURE FOR MEASURE. 

Duke. Might you dispense with your leisure, I would by 
and by have some speech with you ; the satisfaction I would 
require is likewise your own benefit. 155 

Isabella. I have no superfluous leisure : my stay must be 
stolen out of other affairs ; but I will attend you awhile. 

[ Walks apart. 

Dake. Son, I have overheard what hath passed between you 
and your sister. Angelo had never the purpose to corrupt 
her ; only he hath made an assay of her virtue to practise 
his judgment with the disposition of natures. She, having 
the truth of honour in her, hath made him that gracious de- 
nial which he is most glad to receive. I am confessor to 
Angelo, and I know this to be true ; therefore prepare your- 
self to death. Do not satisfy your resolution with hopes that 
are fallible : to-morrow you must die ; go to your knees and 
make ready. 

Claudio. Let me ask my sister pardon. I am so out of 
love with life that I will sue to be rid of it. 169 

Duke. Hold you there ; farewell. — [Exit Claudio.~\ Prov- 
ost, a word with you ! 

Re-enter Provost. 

Provost. What 's your will, father ? 

Duke. That now you are come, you will be gone. Leave 
me awhile with the maid ; my mind promises with my habit 
no loss shall touch her by my company. 

Provost. In good time. 

[Exit Provost. Isabella comes forivard. 

Duke. The hand that hath made you fair hath made you 
good : the goodness that is cheap in beauty makes beauty 
brief in goodness ; but grace, being the soul of your com- 
plexion, shall keep the body of it ever fair. The assault that 
Angelo hath made to you, fortune hath conveyed to my 
understanding ; and, but that frailty hath examples for his 
falling, I should wonder at Angelo. How will you do to 
content this substitute, and to save your brother ? 184 



ACT /If. SCENE /. 81 

Isabella. I am now going to resolve him. I had rather 
my brother die by the law than my son should be unlawfully 
born. But, O, how much is the good duke deceived in An- 
gelo I If ever he return, and I can speak to him, I will open 
my lips in vain, or discover his government. 189 

Duke. That shall not be much amiss : yet, as the matter 
now stands, he will avoid your accusation ; he made trial of 
you only. Therefore fasten your ear on my advisings : to the 
love I have in doing good a remedy presents itself. I do 
make myself believe that you may most uprighteously do a 
poor wronged lady a merited benefit, redeem your brother from 
the angry law, do no stain to your own gracious person, and 
much please the absent duke, if peradventure he shall ever 
return to have hearing of this business. 

Isabella. Let me hear you speak farther. I have spirit to 
do any thing that appears not foul in the truth of my spirit. 

Duke. Virtue is bold, and goodness never fearful. Have 
you not heard speak of Mariana, the sister of Frederick the 
great soldier who miscarried at sea? 203 

Isabella. I have heard of the lady, and good words went 
with her name. 

Duke. She should this Angelo have married j was affianced 
to her by oath, and the nuptial appointed : between which 
time of the contract and limit of the solemnity, her brother 
Frederick was wracked at sea, having in that perished vessel 
the dowry of his sister. But mark how heavily this befell to 
the poor gentlewoman : there she lost a noble and renowned 
brother, in his love toward her ever most kind and natural; 
with him, the portion and sinew of her fortune, her marriage- 
dowry ; with both, her combinate husband, this well-seeming 
Angelo. 2I 5 

Isabella. Can this be so ? did Angelo so leave her ? 

Duke. Left her in her tears, and dried not one of them 
with his comfort ; swallowed his vows whole, pretending in 
her discoveries of dishonour : in few, bestowed her on her own 

F 



g 2 MEASURE FOR MEASURE. 

lamentation, which she yet wears for his sake, and he, a 
marble to her tears, is washed with them, but relents not. 

Isabella. What a merit were it in death to take this poor 
maid from the world ! What corruption in this life, that it 
will let this man live ! But how out of this can she avail ? 

Duke. It is a rupture that you may easily heal ; and the 
cure of it not only saves your brother, but keeps you from 
dishonour in doing it. 

Isabella. Show me how, good father. 228 

Duke. This forenamed maid hath yet in her the continu- 
ance of her first affection ; his unjust unkindness, that in all 
reason should have quenched her love, hath, like an impedi- 
ment in the current, made it more violent and unruly. Go 
you to Angelo; answer his requiring with a plausible obedi- 
ence; agree with his demands to the point ; only refer your- 
self to this advantage, first, that your stay with him may not 
be long, that the time may have all shadow and silence in it, 
and the place answer to convenience. This being granted 
in course — and now follows all — we shall advise this wronged 
maid to stead up your appointment, go in your place ; if the 
encounter acknowledge itself hereafter, it may compel him 
to her recompense : and here, by this, is your brother saved, 
your honour untainted, the poor Mariana advantaged, and 
the corrupt deputy foiled. The maid will I frame and make 
fit for his attempt. If you think well to carry this as you 
may, the doubleness of the benefit defends the deceit from 
reproof. What think you of it? 246 

Isabella. The image of it gives me content already, and I 
trust it will grow to a most prosperous perfection. 

Duke. It lies much in your holding up. Haste you speedi- 
ly to Angelo ; if for this night he entreat you to his bed, give 
him promise of satisfaction. I will presently to Saint Luke's; 
there, at the moated grange, resides this dejected Mariana. 
At that place call upon me, and dispatch with Angelo, that 
it may be quickly. 



ACT III. SCENE II. 83 

Isabella. I thank you for this comfort. Fare you well, 
good father. [Exeunt severally. 

Scene II. The Street before the Prison. 

Enter, on one side, Duke disguised as before; on the other, 

Elbow, and Officers with Pompey. 

Elbow. Nay, if there be no remedy for it, but that you will 
needs buy and sell men and women like beasts, we shall 
have all the world drink brown and white bastard. 

Duke. O heavens ! what stuff is here ? 

Pompey. T was never merry world since, of two usuries, 
the merriest was put down, and the worser allowed by order 
of law a furred gown to keep him warm ; and furred with 
fox and lamb skins too, to signify that craft, being richer 
than innocency, stands for the facing. 9 

Elbow. Come your way, sir.— Bless you, good father friar. 

Duke. And you, good brother father. What offence hath 
this man made you, sir? 

Elbow. Marry, sir, he hath offended the law ; and, sir, we 
take him to be a thief too, sir, for we have found upon him, 
sir, a strange picklock, which we have sent to the deputy. 

Duke. Fie, sirrah ! a bawd, a wicked bawd ! 
The evil that thou causest to be done, 
That is thy means to live. Do thou but think 
What 't is to cram a maw or clothe a back 
From such a filthy vice ; say to thyself, 
From their abominable and beastly touches 
I drink, I eat, array myself, and live. 
Canst thou believe thy living is a life, 
So stinkingly depending? Go mend, go mend. 

Pompey. Indeed, it does stink in some sort, sir ■ but, yet, 
sir, I would prove — 

Duke. Nay, if the devil have given thee proofs for sin, 
Thou wilt prove his. — Take him to prison, officer. 



8 4 



MEASURE FOR MEASURE. 



Correction and instruction must both work 

Ere this rude beast will profit. 3° 

Elbow. He must before the deputy, sir ; he has given him 
warning. The deputy cannot abide a whoremaster ; if he be 
a whoremonger, and comes before him, he were as good go 
a mile on his errand. 

Duke. That we were all, as some would seem to be, 
Free from our faults, as from faults seeming free ! 

Elbow. His neck will come to your waist, — a cord, sir. 

Pompey. I spy comfort ; I cry bail. Here 's a gentleman 
and a friend of mine. 39 

Enter Lucio. 

Lucio. How now, noble Pompey ! What, at the wheels of 
Caesar ? art thou led in triumph ? What, is there none of 
Pygmalion's images, newly made woman, to be had now, for 
putting the hand in the pocket and extracting it clutched ? 
What reply, ha ? What sayest thou to this tune, matter, and 
method ? Is 't not drowned i' the last rain, ha ? What say- 
est thou, Trot ? Is the world as it was, man ? Which is the 
way ? Is it sad, and few words ? or how ? The trick of it? 

Duke. Still thus, and thus ; still worse ! 

Lucio. How doth my dear morsel, thy mistress ? Procures 
she still, ha ? 5° 

Pompey. Troth, sir, she hath eaten up all her beef, and she 
is herself in the tub. 

Lucio. W 7 hy, 't is good ; it is the right of it ; it must be so : 
an unshunned consequence ; it must be so. Art going to 
prison, Pompey ? 

Pompey. Yes, faith, sir. 

Lucio. Why, 't is not amiss, Pompey. Farewell ; go, say I 
sent thee thither. For debt, Pompey? or how? 

Elbow. For being a bawd, for being a bawd. 59 

Lucio. W T ell, then, imprison him. If imprisonment be the 
due of a bawd, why, 't is his right ; bawd is he doubtless, and 



ACT III. SCENE II. 85 

of antiquity too — bawd-born. Farewell, good Pompey. Com- 
mend me to the prison, Pompey. You will turn good hus- 
band now, Pompey ; you will keep the house. 

Pompey. I hope, sir, your good worship will be my bail. 

Lucio. No, indeed, will I not, Pompey; it is not the wear. 
I will pray, Pompey, to increase your bondage ; if you take 
it not patiently, why, your mettle is the more. Adieu, trusty 
Pompey. — Bless you, friar. 

Duke. And you. 70 

Lucio. Does Bridget paint still, Pompey, ah ? 

Elbow. Come your ways, sir ; come. 

Pompey. You will not bail me, then, sir ? 

Lucio. Then, Pompey, nor now. — What news abroad, 
friar? what news? 

Elbow. Come your ways, sir ; come. 

Lucio. Go to kennel, Pompey, go. — {Exeunt Elbow, Pom- 
pey and Officers^ What news, friar, of the duke ? 

Duke. I know none. Can you tell me of any? 

Lucio. Some say he is with the Emperor of Russia ; other 
some, he is in Rome ; but where is he, think you ? 81 

Duke. I know not where ; but wheresoever, I wish him 
well. 

Lucio. It was a mad fantastical trick of him to steal from 
the state, and usurp the beggary he was never born to. Lord 
Angelo dukes it well in his absence ; he puts transgression 
to 't. 

Duke. He does well in 't. 

Lucio. A little more lenity to lechery would do no harm in 
him ; something too crabbed that way, friar. 90 

Duke. It is too general a vice, and severity must cure it. 

Lucio. Yes, in good sooth, the vice is of a great kindred ; 
it is well allied : but it is impossible to extirp it quite, friar, 
till eating and drinking be put down. They say this Angelo 
was not made by man and woman after this downright way 
of creation ; is it true, think you ? 



86 MEASURE FOR MEASURE. 

Duke. How should he be made, then ? 

Lucio. Some report a sea-maid spawned him; some, that 
he was begot between two stock-fishes. 

Duke. You are pleasant, sir, and speak apace. 100 

Lucio. Why, what a ruthless thing is this in him, for the 
rebellion of a codpiece to take away the life of a man ! 
Would the duke that is absent have done this ? Ere he 
would have hanged a man for the getting a hundred bas- 
tards, he would have paid for the nursing a thousand. He 
had some feeling of the sport ; he knew the service, and that 
instructed him to mercy. 

Duke. I never heard the absent duke much detected for 
women ; he was not inclined that way. 

Lucio. O, sir, you are deceived. no 

Duke. 'T is not possible. 

Lucio. Who, not the duke ? yes, your beggar of fifty ; and 
his use was to put a ducat in her clack-dish : the duke had 
crotchets in him. He would be drunk too ; that let me in- 
form you. 

Duke. You do him wrong, surely. 

Lucio. Sir, I was an inward of his. A shy fellow was the 
duke ; and I believe I know the cause of his withdrawing. 

Duke. What, I prithee, might be the cause? u 9 

Lucio. No, pardon ; 't is a secret must be locked within 
the teeth and the lips : but this I can let you understand, 
the greater file of the subject held the duke to be wise. 

Duke. Wise ! why, no question but he was. 

Lucio. A very superficial, ignorant, unweighing fellow. 

Duke. Either this is envy in you, folly, or mistaking ; the 
very stream of his life and the business he hath helmed 
must upon a warranted need give him a better proclamation. 
Let him be but testimonied in his own bringings-forth, and 
he shall appear to the envious a scholar, a statesman, and a 
soldier. Therefore you speak unskilfully j or if your knowl- 
edge be more, it is much darkened in your malice. 131 



ACT III. SCENE II. 87 

Lucio. Sir, I know him, and I love him. 
Duke. Love talks with better knowledge, and knowledge 
with dearer love. 

Lucio. Come, sir, I know what I know. 
Duke I can hardly believe that, since you know not what 
you speak. But, if ever the duke return, as our prayers are 
he may let me desire you to make your answer before him. 
If it be honest you have spoke, you have courage to main- 
tain it. I am bound to call upon you j and, I pray you, 
your name.-' 

Lucio. Sir, my name is Lucio, well known to the duke. 
Duke. He shall know you better, sir, if I may live to re- 
port you. 

Lucio. I fear you not. 

Duke O you hope the duke will return no more, or you 
imagine me too unhurtful an opposite. But indeed I can 
do you little harm ; you '11 forswear this again. _ 

Lucio I '11 be hanged first; thou art deceived in me, friar. 
But no' more of this. Canst thou tell if Claudio die to- 
■> 151 

morrow or no r 

Duke. Why should he die, sir? 

Lucio Why? For filling a bottle with a tun-dish. I would 
the duke we talk of were returned again: this ungemtured 
agent will unpeople the province with continency; sparrows 
must not build in his house-eaves, because they are lecher- 
ous The duke yet would have dark deeds darkly answered ; 
he would never bring them to light: would he were returned! 
Marry, this Claudio is condemned for untrussing. Farewell, 
good friar ; I prithee, pray for me. The duke, I say to thee 
again, would eat mutton on Fridays. He »s not past it yet 
and I say to thee, he would mouth with a beggar, though 
she smelt brown bread and garlic; say that I said *>. 

Farewell. L 

Duke. No might nor greatness in mortality 
Can censure scape; back-wounding calumny 



88 MEASURE FOR MEASURE. 

The whitest virtue strikes. What king so strong 
Can tie the gall up in the slanderous tongue ? — 
But who comes here ? 

Enter Escalus, Provost, and Officers with Mistress Over- 
done. 

Escalus. Go ; away with her to prison ! i 7 o 

Mrs. Overdone. Good my lord, be good to me; your hon- 
our is accounted a merciful man, good my lord. 

Escalus. Double and treble admonition, and still forfeit 
in the same kind ! This would make mercy swear and play 
the tyrant. 

Provost. A bawd of eleven years' continuance, may it 
please your honour. 

Mrs. Overdone. My lord, this is one Lucio's information 
against me. Mistress Kate Keepdown was with child by him 
in the duke's time ; he promised her marriage : his child 
is a year and a quarter old, come Philip and Jacob. I have 
kept it myself; and see how he goes about to abuse me ! 

Escalus. That fellow is a fellow of much license; — let him 
be called before us. — Away with her to prison ! — Go to ; 
no more words. — [Exeunt Officers with Mistress Overdone.'] 
Provost, my brother Angelo will not be altered ; Claudio 
must die to-morrow. Let him be furnished with divines, and 
have all charitable preparation. If my brother wrought by 
my pity, it should not be so with him. 

Provost. So please you, this friar hath been with him, and 
advised him for the entertainment of death. i 9 i 

Escalus. Good even, good father. 

Duke. Bliss and goodness on you ! 

Escalus. Of whence are you ? 

Duke. Not of this country, though my chance is now 
To use it for my time ; I am a brother 
Of gracious order, late come from the See 
In special business from his holiness. 



ACT III. SCENE II. 89 

Escalus. What news abroad i' the world ? i 99 

Duke. None, but that there is so great a fever on good- 
ness, that the dissolution of it must cure it : novelty is only 
in request; and it is as dangerous to be aged in any kind 
of course, as it is virtuous to be constant in any undertaking. 
There is scarce truth enough alive to make societies secure, 
but security enough to make fellowships accurst. Much 
upon this riddle runs the wisdom of the world. This news 
is old enough, yet it is every day's news. I pray you, sir, of 
what disposition was the duke? 

Escalus. One that, above all other strifes, contended es- 
pecially to know himself. 2IO 

Duke. What pleasure was he given to ? 

Escalus. Rather rejoicing to see another merry, than merry 
at any thing which professed to make him rejoice; a gentle- 
man of all temperance. But leave we him to his events, 
with a prayer they may prove prosperous, and let me desire 
to know how you find Claudio prepared. I am made to 
understand that you have lent him visitation. 

Duke. He professes to have received no sinister measure 
from his judge, but most willingly humbles himself to the 
determination of justice ; yet had he framed to himself, by 
the instruction of his frailty, many deceiving promises of life, 
which I by my good leisure have discredited to him, and 
now is he resolved to die. 223 

Escalus. You have paid the heavens your function, and 
the prisoner the very debt of your calling. I have laboured 
for the poor gentleman to the extremest shore of my mod- 
esty; but my brother justice have I found so severe, that he 
hath forced me to tell him he is indeed justice. 

Duke. If his own life answer the straitness of his pro- 
ceeding, it shall become him well ; wherein if he chance to 
fail, he hath sentenced himself. 231 

Escalus. I am going to visit the prisoner. Fare you well. 

Duke. Peace be with you ! — [Exeunt Escalus and Provost. 



9 o MEASURE FOR MEASURE. 

He who the sword of heaven will bear 

Should be as holy as severe ; 

Pattern in himself to know, 

Grace to stand, and virtue go ; 

More nor less to others paying 

Than by self-offences weighing. 

Shame to him whose cruel striking 240 

Kills for faults of his own liking ! 

Twice treble shame on Angelo, 

To weed my vice and let his grow ! 

O, what may man within him hide, 

Though angel on the outward side ! 

How may likeness wade in crimes, 

Making practice on the times, 

To draw with idle spiders' strings 

Most ponderous and substantial things ! 

Craft against vice I must apply : 250 

With Angelo to-night shall lie 

His old betrothed but despis'd ; 

So disguise shall, by the disguis'd, 

Pay with falsehood false exacting, 

And perform an old contracting. {Exit. 




ill, 
lilt, 




INTERIOR OF PRISON (SCENE III.). 



ACT IV. 

Scene I. The Moated Grange at St. Luke's. 
Enter Mariana and a Boy. 
Boy sings. 
Take, O, take those lips away, 

That so sweetly were forsworn, 
And those eyes, the break of day, 
Lights that do mislead the morn; 



9 2 MEASURE FOR MEASURE. 

But my kisses bring again, bri?ig again. — 
Seals of love, but seaVd in vain, seal'd in vain. 

Mariana. Break off thy song, and haste thee quick away ; 
Here comes a man of comfort, whose advice 
Hath often still'd my brawling discontent. — [Exit Boy. 

Enter Duke disguised as before. 
I cry you mercy, sir, and well could wish 10 

You had not found me here so musical. 
Let me excuse me, and believe me so, 
My mirth it much displeas'd, but pleas'd my woe. 

Duke. 'T is good ; though music oft hath such a charm 
To make bad good, and good provoke to harm. 
I pray you, tell me, hath anybody inquired for me here 
to-day? much upon this time have I promised here to 
meet. 

Mariana. You have not been inquired after; I have sat 
here all day. 2Q 

Enter Isabella. 

Duke. I do constantly believe you. The time is come 
even now. I shall crave your forbearance a little; may be 
I will call upon you anon, for some advantage to yourself. 

Mariana. I am always bound to you. [Exit. 

Duke. Very well met, and well come. 
What is the news from this good deputy ? 

Isabella. He hath a garden circummur'd with brick, 
Whose western side is with a vineyard back'd; 
And to that vineyard is a planched gate, 
That makes his opening with this bigger key: 30 

This other doth command a little door 
Which from the vineyard to the garden leads ; 
There have I made my promise 
Upon the heavy middle of the night 
To call upon him. 



ACT IV. SCENE I. 93 

Duke. But shall you on your knowledge find this way ? 

Isabella. I have ta'en a due and wary note upon 't ; 
With whispering and most guilty diligence, 
In action all of precept, he did show me 
The way twice o'er. 

Duke. Are there no other tokens 40 

Between you greed concerning her observance ? 

Isabella. No, none, but only a repair i' the dark, 
And that I have possess'd him my most stay 
Can be but brief; for I have made him know 
I have a servant comes with me along, 
That stays upon me, whose persuasion is 
I come about my brother. 

Duke. 'T is well borne up. 

I have not yet made known to Mariana 
A word of this. — What, ho ! within ! come forth ! 

Re-enter Mariana. 
I pray you, be acquainted with this maid ; 50 

She comes to do you good. 

Isabella. I do desire the like. 

Duke. Do you persuade yourself that I respect you ? 

Mariana. Good friar, I know you do, and have found it. 

Duke. Take, then, this your companion by the hand, 
Who hath a story ready for your ear„ 
I shall attend your leisure: but make haste; 
The vaporous night approaches. 

Mariana. Will 't please you walk aside ? 

[Exeunt Mariana a?id Isabella. 

Duke. O place and greatness ! millions of false eyes 
Are stuck upon thee; volumes of report 60 

Run with these false and most contrarious quests 
Upon thy doings ; thousand escapes of wit 
Make thee the father of their idle dreams 
And rack thee in their fancies. — 



94 MEASURE FOR MEASURE. 



Re-enter Mariana and Isabella. 

Welcome, how agreed ? 

Isabella. She '11 take the enterprise upon her, father, 
If you advise it. 

Duke. It is not my consent, 

But my entreaty too. 

Isabella. Little have you to say 

When you depart from him, but, soft and low, 
1 Remember now my brother.' 

Mariana. Fear me not. 

Duke. Nor, gentle daughter, fear you not at all. 70 

He is your husband on a pre-contract; 
To bring you thus together, 't is no sin, 
Sith that the justice of your title to him 
Doth flourish the deceit. Come, let us go; 
Our corn 's to reap, for yet our tilth 's to sow. [Exeunt. 

Scene II. A Room in the Prison. 
Enter Provost and Pompey. 

Provost. Come hither, sirrah. Can you cut off a man's 
head? 

Pompey. If the man be a bachelor, sir, I can; but if he be 
a married man, he 's his wife's head, and I can never cut off 
a woman's head. 

Provost. Come, sir, leave me your snatches, and yield me 
a direct answer. To-morrow morning are to die Claudio and 
Barnardine. Here is in our prison a common executioner, 
who in his office lacks a helper: if you will take it on you to 
assist him, it shall redeem you from your gyves ; if not, you 
shall have your full time of imprisonment and your deliver- 
ance with an unpitied whipping, for you have been a notori- 
ous bawd. 13 

Pompey. Sir, I have been an unlawful bawd time out of 



ACT IV. SCENE II. 95 

mind, but yet I will be content to be a lawful hangman. I 
would be glad to receive some instruction from my fellow 
partner. 

Provost. What, ho ! Abhorson ! Where 's Abhorson, there? 

Enter Abhorson. 

Abhorson. Do you call, sir? 

Provost. Sirrah, here 's a fellow will help you to-morrow in 
your execution. If you think it meet, compound with him 
by the year, and let him abide here with you; if not, use him 
for the present and dismiss him. He cannot plead his esti- 
mation with you ; he hath been a bawd. 24 

Abhorson. A bawd, sir ? fie upon him ; he will discredit 
our mystery. 

Provost. Go to, sir; you weigh equally; a feather will turn 
the scale. [Exit 

Pompey. Pray, sir, by your good favour, — for surely, sir, a 
good favour you have, but that you have a hanging look, — do 
you call, sir, your occupation a mystery ? 31 

Abhorson. Ay, sir; a mystery. 

Pompey. Painting, sir, I have heard say, is a mystery ; and 
your whores, sir, being members of my occupation, using 
painting, do prove my occupation a mystery; but what mys- 
tery there should be in hanging, if I should be hanged, I can- 
not imagine. 

Abhorson. Sir, it is a mystery. 

Pompey. Proof? 

Abhorson. Every true man's apparel fits your thief. 40 

Pompey. If it be too little for your thief, your true man thinks 
it big enough ; if it be too big for your thief, your thief thinks 
it little enough : so every true man's apparel fits your thief. 

Re-etiter Provost. 

Provost. Are you agreed ? 

Pompey. Sir, I will serve him, for I do find your hangman 



9 6 MEASURE FOR MEASURE. 

is a more penitent trade than your bawd; he doth oftener 
ask forgiveness. 

Provost. You, sirrah, provide your block and your axe to- 
morrow four o'clock. 

Abhorson. Come on, bawd ; I will instruct thee in my trade ; 
follow. 51 

Pompey. I do desire to learn, sir: and I hope, if you have 
occasion to use me for your own turn, you shall find me 
yare; for truly, sir, for your kindness I owe you a good turn. 

Provost. Call hither Barnardine and Claudio. — 

[Exeunt Pompey and Abhorson. 
The one has my pity; not a jot the other, 
Being a murtherer, though he were my brother. — 

Enter Claudio. 
Look, here 's the warrant, Claudio, for thy death ; 
'T is now dead midnight, and by eight to-morrow 
Thou must be made immortal. Where 's Barnardine ? 60 

Claudio. As fast lock'd up in sleep as guiltless labour 
When it lies starkly in the traveller's bones ; 
He will not wake. 

Provost. Who can do good on him ? 

Well, go, prepare yourself. [Knocking within.] But, hark, 

what noise ? 
Heaven give your spirits comfort ! — [Exit Claudio.'] By and 

by.- 
I hope it is some pardon or reprieve 
For the most gentle Claudio. 

Enter Duke disguised as before. 

Welcome, father. 
Duke. The best and wholesom'st spirits of the night 
Envelop you, good provost ! Who call'd here of late ? 
Provost. None, since the curfew rung. 70 

Duke. Not Isabel ? 



ACT IV. SCENE II. 97 

Provost. No. 

Duke. They will, then, ere 't be long. 

Provost. What comfort is for Claudio ? 

Duke. There 's some in hope. 

Provost. It is a bitter deputy. 

Duke. Not so, not so \ his life is parallePd 
Even with the stroke and line of his great justice. 
He doth with holy abstinence subdue 
That in himself which he spurs on his power 
To qualify in others. Were he meal'd with that 
Which he corrects, then were he tyrannous; 
But this being so, he 's just.— {Knocking within.'] Now are 
they come.— [Exit Provost 

This is a gentle provost; seldom when 81 

The steeled gaoler is the friend of men.— [Knocking within. 
How now ! what noise ? That spirit 's possess'd with haste 
That wounds the unsisting postern with these strokes. 

Re-enter Provost. 

Provost. There he must stay until the officer 
Arise to let him in; he is call'd up. 

Duke. Have you no countermand for Claudio yet, 
But he must die to-morrow ? 

Provost None, sir, none. 

Duke. As near the dawning, provost, as it is, 
You shall hear more ere morning. 

Provost Happily 90 

You something know, yet I believe there comes 
No countermand ; no such example have we. 
Besides, upon the very siege of justice 
Lord Angelo hath to the public ear 
Profess'd the contrary. 

Enter a Messenger. 

This is his lordship's man. 
G 



98 



MEASURE FOR MEASURE. 



Duke. And here comes Claudio's pardon. 

Messenger. [Giving a paper.] My lord hath sent you this 
note \ and by me this further charge, that you swerve not 
from the smallest article of it, neither in time, matter, or oth- 
er circumstance. Good morrow; for, as I take it, it is almost 
day. i° x 

Provost. I shall obey him. [Exit Messenger. 

Duke. [Aside'] This is his pardon, purchas'd by such 
sin 
For which the pardoner himself is in. 
Hence hath offence his quick celerity, 
When it is borne in high authority. 
When vice makes mercy, mercy 's so extended, 
That for the fault's love is the offender friended. — 
Now, sir, what news ? 

Provost. I told you. Lord Angelo, belike thinking me re- 
miss in mine office, awakens me with this unwonted putting- 
on; methinks strangely, for he hath not used it before. 112 

Duke. Pray you, let 's hear. 

Provost. [Reads] ' Whatsoever you may hear to the contrary, 
let Claudio be executed by four of the clock, a?id in the after- 
noon Bamardine. For my better satisfaction, let me have 
Claudio's head sent me by five. Let this be duly performed, 
with a thought that more depends on it than we must yet de- 
liver. Thus fail not to do your office, as you will answer it 
at your peril.' 1 I2 ° 

What say you to this, sir ? 

Duke. What is that Bamardine who is to be executed in 
the afternoon ? 

Provost. A Bohemian born, but here nursed up and bred ; 
one that is a prisoner nine years old. 

Duke. How came it that the absent duke had not either 
delivered him to his liberty or executed him ? I have heard 
it was ever his manner to do so. 

Provost. His friends still wrought reprieves for him; and, 



ACT IV. SCENE II 



99 



indeed, his fact, till now in the government of Lord Angelo, 
came not to an undoubtful proof. 131 

Duke. It is now apparent? 

Provost. Most manifest, and not denied by himself. 

Duke. Hath he borne himself penitently in prison ? how 
seems he to be touched ? 

Provost. A man that apprehends death no more dreadfully 
but as a drunken sleep; careless, reckless, and fearless of 
what 's past, present, or to come ; insensible of mortality, and 
desperately mortal. 

Duke. He wants advice. 140 

Provost. He will hear none. He hath evermore had the 
liberty of the prison; give him leave to escape hence, he 
would not: drunk many times a day, if not many days en- 
tirely drunk. We have very oft awaked him, as if to carry 
him to execution, and showed him a seeming warrant for it; 
it hath not moved him at all. 

Duke. More of him anon. There is written in your brow, 
provost, honesty and constancy: if I read it not truly, my an- 
cient skill beguiles me ; but, in the boldness of my cunning, 
I will lay myself in hazard. Claudio, whom here you have 
warrant to execute, is no greater forfeit to the law than An- 
gelo who hath sentenced him. To make you understand 
this in a manifested effect, I crave but four days' respite ; for 
the which you are to do me both a present and a dangerous 
courtesy. 

Provost. Pray, sir, in what ? 

Duke. In the delaying death. 

Provost. Alack, how may I do it, having the hour limited, 
and an express command, under penalty, to deliver his head 
in the view of Angelo? I may make my case as Claudio's, 
to cross this in the smallest. 161 

Duke. By the vow of mine order I warrant you, if my in- 
structions may be your guide. . Let this Barnardine be this 
morning executed, and his head borne to Angelo. 



ioo MEASURE FOR MEASURE. 

Provost. Angelo hath seen them both, and will discover the 
favour. 

Duke. O, death 's a great disguiser, and you may add to 
it. Shave the head, and tie the beard, and say it was the 
desire of the penitent to be so bared before his death ; you 
know the course is common. If any thing fall to you upon 
this, more than thanks and good fortune, by the saint whom 
I profess, I will plead against it with my life. 173 

Provost. Pardon me, good father ; it is against my oath. 

Duke. Were you sworn to the duke, or to the deputy? 

Provost. To him, and to his substitutes. 

Duke. You will think you have made no offence, if the 
duke avouch the justice of your dealing? 

Provost. But what likelihood is in that ? 

Duke. Not a resemblance, but a certainty. Yet since I 
see you fearful, that neither my coat, integrity, nor persuasion 
can with ease attempt you, I will go further than I meant, to 
pluck all fears out of you. Look you, sir, here is the hand 
and seal of the duke ; you know the character, I doubt not, 
and the signet is not strange to you. 185 

Provost. I know them both. 

Duke. The contents of this is the return of the duke; you 
shall anon over-read it at your pleasure, where you shall find 
within these two days he will be here. This is a thing that 
Angelo knows not, for he this very day receives letters of 
strange tenour: perchance of the duke's death; perchance 
entering into some monastery; but, by chance, nothing of 
what is writ. Look, the unfolding star calls up the shep- 
herd. Put not yourself into amazement how these things 
should be ; all difficulties are but easy when they are known. 
Call your executioner, and off with Barnardine's head ; I will 
give him a present shrift and advise him for a better place. 
Yet you are amazed ; but this shall absolutely resolve you. 
Come away; it is almost clear dawn. \Exeunt. 



ACT IV. SCENE III. ioi 

Scene III. Another Room in the Same. 
Enter Pompey. 

Pompey. I am as well acquainted here as I was in our 
house of profession ; one would think it were Mistress Over- 
done's own house, for here be many of her old customers. 
First, here 's young Master Rash; he 's in for a commodity 
of brown paper and old ginger, nine-score and seventeen 
pounds, of which he made five marks, ready money: marry, 
then ginger was not much in request, for the old women were 
all dead. Then is there here one Master Caper, at the suit 
of Master Three-pile the mercer, for some four suits of peach- 
coloured satin, which now peaches him a beggar. Then have 
we here young Dizy, and young Master Deep-vow, and Mas- 
ter Copper-spur, and Master Starve-lackey the rapier and 
dagger man, and young Drop-heir that killed lusty Pudding, 
and Master Forthright the tilter, and brave Master Shooty 
the great traveller, and wild Half- can that stabbed Pots, 
and, I think, forty more, all great doers in our trade, and are 
now for the Lord's sake. 

Enter Abhorson. 

Abhorson. Sirrah, bring Barnardine hither. 

Pompey. Master Barnardine ! you must rise and be hang- 
ed, Master Barnardine ! 2 o 

Abhorson. What, ho, Barnardine ! 

Barnardine. [ JVithin] A pox o' your throats ! Who makes 
that noise there ? What are you ? 

Pompey. Your friends, sir; the hangman. You must be 
so good, sir, to rise and be put to death. 

Barnardine. [ Within] Away, you rogue, away ! I am 
sleepy. 

Abhorson. Tell him he must awake, and that quickly too. 

Pompey. Pray, Master Barnardine, awake till you are ex- 
ecuted, and sleep afterwards. 30 



102 MEASURE FOR MEASURE. 

Abhorson. Go in to him, and fetch him out. 
Pompey. He is coming, sir, he is coming; I hear his straw 
rustle. 

Abhorson. Is the axe upon the block, sirrah ? 
Pompey. Very ready, sir. 

Enter Barnardine. 

Barnardine. How now, Abhorson ? what 's the news with 
you ? 

Abhorson. Truly, sir, I would desire you to clap into your 
prayers ; for, look you, the warrant 's come. 

Barnardine. You rogue, I have been drinking all night; I 
am not fitted for 't. 41 

Pompey. O, the better, sir; for he that drinks all night, 
and is hanged betimes in the morning, may sleep the sound- 
er all the next day. 

Abhorson. Look you, sir; here comes your ghostly father: 
do we jest now, think you ? 

Enter Duke disguised as before. 

Duke. Sir, induced by my charity, and hearing how hastily 
you are to depart, I am come to advise you, comfort you, and 
pray with you. 

Barnardine. Friar, not I ; I have been drinking hard all 
night, and I will have more time to prepare me, or they shall 
beat out my brains with billets. I will not consent to die this 
day, that 's certain. 53 

Duke. O, sir, you must ; and therefore I beseech you 
Look forward on the journey you shall go. 

Barnardine. I swear I will not die to-day for any man's 
persuasion. 

Duke. But hear you, — 

Barnardine. Not a word ; if you have any thing to say to 
me, come to my ward, for thence will not I to-day. [Exit. 



ACT IV. SCENE III, 103 

Duke. Unfit to live or die. gravel heart ! 61 

After him, fellows ; bring him to the block. 

[Exeunt Abhor son and Pompey. 

Re-enter Provost. 

Provost. Now, sir, how do you find the prisoner ? 

Duke. A creature unprepar'd, unmeet for death ; 
And to transport him in the mind he is 
Were damnable. 

Provost. Here in the prison, father, 

There died this morning of a cruel fever 
One Ragozine, a most notorious pirate, 
A man of Claudio's years; his beard and head 
Just of his colour. What if we do omit 70 

This reprobate till he were well inclin'd 
And satisfy the deputy with the visage 
Of Ragozine, more like to Claudio ? 

Duke. O, 't is an accident that heaven provides ! 
Dispatch it presently; the hour draws on 
Prefix'd by Angelo : see this be done, 
And sent according to command, whiles I 
Persuade this rude wretch willingly to die. 

Provost. This shall be done, good father, presently. 
But Barnardine must die this afternoon; 80 

And how shall we continue Claudio, 
To save me from the danger that might come 
If he were known alive ? 

Duke. Let this be done : 

Put them in secret holds, both Barnardine and Claudio. 
Ere twice the sun hath made his journal greeting 
To the under generation, you shall find 
Your safety manifested. 

Provost. I am your free dependant. 

Duke. Quick, dispatch, and send the head to Angelo. — 

[Exit Provost. 



104 



MEASURE FOR MEASURE. 



Now will I write letters to Angelo, — 90 

The provost, he shall bear them, — whose contents 

Shall witness to him I am near at home, 

And that, by great injunctions, I am bound 

To enter publicly. Him I '11 desire 

To meet me at the consecrated fount 

A league below the city; and from thence, 

By cold gradation and well-balanc'd form, 

We shall proceed with Angelo. 

Re-enter Provost. 

Provost Here is the head ; I '11 carry it myself. 

Dake. Convenient is it. Make a swift return, 100 

For I would commune with you of such things 
That want no ear but yours. 

Provost. I '11 make all speed. [Exit. 

Isabella. [ Withiii\ Peace, ho, be here ! 

Duke. The tongue of Isabel. She 's come to know 
If yet her brother's pardon be come hither; 
But I will keep her ignorant of her good, 
To make her heavenly comforts of despair, 
When it is least expected. 

Enter Isabella. 

Isabella. Ho, by your leave ! 

Duke. Good morning to you, fair and gracious daughter. 

Isabella. The better, given me by so holy a man. no 

Hath yet the deputy sent my brother's pardon ? 

Duke. He hath releas'd him, Isabel, from the world; 
His head is off and sent to Angelo. 

Isabella. Nay, but it is not so. 

Duke. It is no other; show your wisdom, daughter, 
In your close patience. 

Isabella. O, I will to him and pluck out his eyes ! 

Duke. You shall not be admitted to his sight. 



ACT IV. SCENE III. 105 

Isabella. Unhappy Claudio ! wretched Isabel ! 
Injurious world ! most damned Angelo ! 120 

Duke. This nor hurts him nor profits you a jot. 
Forbear it therefore ; give your cause to heaven. 
Mark what I say, which you shall find 
By every syllable a faithful verity : 

The duke comes home to-morrow; — nay, dry your eyes; 
One of our covent, and his confessor, 
Gives me this instance. Already he hath carried 
Notice to Escalus and Angelo, 
Who do prepare to meet him at the gates, 
There to give up their power. If you can pace your wisdom 
In that good path that I would wish it, go; i 3I 

And you shall have your bosom on this wretch, 
Grace of the duke, revenges to your heart, 
And general honour. 

Isabella. I am directed by you. 

Duke. This letter, then, to Friar Peter give ; 
'T is that he sent me of the duke's return. 
Say, by this token, I desire his company 
At Mariana's house to-night. Her cause and yours 
I '11 perfect him withal, and he shall bring you 
Before the duke, and to the head of Angelo i 4 o 

Accuse him home and home. For my poor self, 
I am combined by a sacred vow 
And shall be absent. Wend you with this letter. 
Command these fretting waters from your eyes 
With a light heart; trust not my holy order, 
If I pervert your course. — Who 's here ? 

Enter Lucio. 
Lucio. Good even. Friar, where 's the provost ? 
Duke. Not within, sir. 

Lucio. O pretty Isabella, I am pale at mine heart to see 
thine eyes so red ; thou must be patient. I am fain to dine 



106 MEASURE FOR MEASURE. 

and sup with water and bran ; I dare not for my head fill my 
belly; one fruitful meal would set me to 't. But they say 
the duke will be here to-morrow. By my troth, Isabel, I 
loved thy brother; if the old fantastical duke of dark corners 
had been at home, he had lived. [Exit Isabella. 

Duke. Sir, the duke is marvellous little beholding to your 
reports ; but the best is, he lives not in them. 

Lucio. Friar, thou knowest not the duke so well as I do; 
he 's a better woodman than thou takest him for. 159 

Duke. Well, you '11 answer this one day. Fare ye well. 

Lucio. Nay, tarry ; I '11 go along with thee. I can tell 
thee pretty tales of the duke. 

Duke. You have told me too many of him already, sir, if 
they be true; if not true, none were enough. 

Lucio. I was once before him for getting a wench with 
child. 

Duke. Did you such a thing ? 

Lucio. Yes, marry, did I; but I was fain to forswear it: 
they would else have married me to the rotten medlar. 

Duke. Sir, your company is fairer than honest. Rest you 
well. 171 

Lucio. By my troth, I '11 go with thee to the lane's end. 
If bawdy talk offend you, we '11 have very little of it. Nay, 
friar, I am a kind of burr; I shall stick. [Exeunt. 



Scene IV. A Room in Angelas House. 
Enter Angelo and Escalus. 
Escalus. Every letter he hath writ hath disvouched other. 
Angelo. In most uneven and distracted manner. His 
actions show much like to madness; pray heaven his wis- 
dom be not tainted ! And why meet him at the gates, and 
redeliver our authorities there ? 
Escalus. I guess not. 
Angelo. And why should we proclaim it in an hour before 



ACT IV. SCENE V. 107 

his entering, that if any crave redress of injustice, they should 
exhibit their petitions in the street ? 9 

Escalus. He shows his reason for that: to have a dispatch 
of complaints, and to deliver us from devices hereafter, which 
shall then have no power to stand against us. 

Angelo. Well, I beseech you, let it be proclaimed betimes 
i' the morn ; I '11 call you at your house. Give notice to 
such men of sort and suit as are to meet him. 

Escalus. I shall, sir. Fare you well. 

Angelo. Good night. — [Exit Escalus. 

This deed unshapes me quite, makes me unpregnant 
And dull to all proceedings. A deflower'd maid ! 
And by an eminent body that enforc'd 20 

The law against it ! But that her tender shame 
Will not proclaim against her maiden loss, 
How might she tongue me ! Yet reason dares her no ; 
For my authority bears so credent bulk, 
That no particular scandal once can touch 
But it confounds the breather. He should have liv'd, 
Save that his riotous youth, with dangerous sense, 
Might in the times to come have ta'en revenge, 
By so receiving a dishonour'd life 

With ransom of such shame. Would yet he had liv'd ! 30 
Alack, when once our grace we have forgot, 
Nothing goes right; we would, and we would not. [Exit. 

Scene V. Fields without the Town. 
Enter Duke in his own habit, and Friar Peter. 
Duke. These letters at fit time deliver me. [Giving letters. 
The provost knows our purpose and our plot. 
The matter being afoot, keep your instruction, 
And hold you ever to our special drift, 
Though sometimes you do blench from this to that, 
As cause doth minister. Go call at Flavius' house, 



108 MEASURE FOR MEASURE. 

And tell him where I stay: give the like notice 
To Valentinus, Rowland, and to Crassus, 
And bid them bring the trumpets to the gate j 
But send me Flavius first. 

Friar Peter. It shall be speeded well. [Exit. 

Enter Varrius. 
Duke. I thank thee, Varrius ; thou hast made good haste. 
Come, we will walk. There 's other of our friends 12 

Will greet us here anon, my gentle Varrius. [Exeunt. 

Scene VI. Street near the City Gate. 
Enter Isabella and Mariana. 

Isabella. To speak so indirectly I am loath. 
I would say the truth; but to accuse him so, 
That is your part : yet I am advis'd to do it, 
He says, to veil full purpose. 

Mariana. Be ruPd by him. 

Isabella. Besides, he tells me that, if peradventure 
He speak against me on the adverse side, 
I should not think it strange ; for 't is a physic 
That 's bitter to sweet end. 

Mariana. I would Friar Peter — 

Isabella. O, peace! the friar is come. 

Enter Friar Peter. 
Friar Peter. Come, I have found you out a stand most fit, 
Where you may have such vantage on the duke, u 

He shall not pass you. Twice have the trumpets sounded ; 
The generous and gravest citizens 
Have hent the gates, and very near upon 
The duke is entering: therefore, hence, away! [Exeunt. 




ACT V. 

Scene I. The City Gate. 
Mariana veiled, Isabella, and Friar Peter, at their stand. 
Enter Duke, Varrius, Lords, Angelo, Escalus, Lucio, 
Provost, Officers, and Citizens, at several doors. 

Duke. My very worthy cousin, fairly met ! — 
Our old and faithful friend, we are glad to see you. 



IIO MEASURE FOR MEASURE. 

* ' I Happy return be to your royal grace ! 

Duke. Many and hearty thankings to you both. 
We have made inquiry of you; and we hear 
Such goodness of your justice, that our soul 
Cannot but yield you forth to public thanks, 
Forerunning more requital. 

Angelo. You make my bonds still greater. 

Duke. O, your desert speaks loud; and I should wrong 
it. 
To lock it in the wards of covert bosom, 10 

When it deserves, with characters of brass, 
A forted residence 'gainst the tooth of time 
And razure of oblivion. Give me your hand, 
And let the subject see, to make them know 
That outward courtesies would fain proclaim 
Favours that keep within. — Come, Escalus, 
You must walk by us on our other hand ; 
And good supporters are you. 

Friar Peter and Isabella come forward. 

Friar Peter. Now is your time; speak loud and kneel be- 
fore him. 

Isabella. Justice, O royal duke ! Vail your regard 20 

Upon a wrong'd, I would fain have said, a maid ! 
O worthy prince, dishonour not your eye 
By throwing it on any other object 
Till you have heard me in my true complaint 
And given me justice, justice, justice, justice ! 

Duke. Relate your wrongs; in what? by whom? be brief. 
Here is Lord Angelo shall give you justice ; 
Reveal yourself to him. 

Isabella. O worthy duke, 

You bid me seek redemption of the devil. 
Hear me yourself; for that which I must speak 30 



ACT V. SCENE I. IFI 

Must either punish me, not being believ'd, 

Or wring redress from you. Hear me, O hear me, here ! 

Angelo. My lord, her wits, I fear me, are not firm ; 
She hath been a suitor to me for her brother 
Cut off by course of justice, — 

Isabella. By course of justice ! 

Angelo. And she will speak most bitterly and strange. 

Isabella. Most strange, but yet most truly, will I speak : 
That Angelo 's forsworn ; is it not strange ? 
That Angelo 's a murtherer ; is 't not strange ? 
That Angelo is an adulterous thief, 4 o 

An hypocrite, a virgin-violator ; 
Is it not strange and strange ? 

Duke. Nay, it is ten times strange. 

Isabella. It is not truer he is Angelo 
Than this is all as true as it is strange. 
Nay, it is ten times true ; for truth is truth 
To the end of reckoning. 

Duke. Away with her! — Poor soul, 

She speaks this in the infirmity of sense. 

Isabella. O prince, I conjure thee, as thou believ'st 
There is another comfort than this world, 
That thou neglect me not, with that opinion 5 o 

That I am touch'd with madness ! Make not impossible 
That which but seems unlike : 't is not impossible 
But one, the wicked'st caitiff on the ground, 
May seem as shy, as grave, as just, as absolute 
As Angelo; even so may Angelo, 
In all his dressings, characts, titles, forms, 
Be an arch-villain ; believe it, royal prince. 
If he be less, he 's nothing ; but he 's more, 
Had I more name for badness. 

Duke. By mine honesty, 

If she be mad, — as I believe no other, — 60 

Her madness hath the oddest frame of sense, 



H2 MEASURE FOR MEASURE. 

Such a dependency of thing on thing, 
As e'er I heard in madness. 

Isabella. O gracious duke, 

Harp not on that, nor do not banish reason 
For inequality; but let your reason serve 
To make the truth appear where it seems hid, 
And hide the false seems true. 

Duke. Many that are not mad 

Have, sure, more lack of reason. — What would you say ? 

Isabella. I am the sister of one Claudio, 
Condemn'd upon the act of fornication 
To lose his head, condemn'd by Angelo. 
I, in probation of a sisterhood, 
Was sent to by my brother; one Lucio 
As then the messenger, — 

Lucio. That 's I, an 't like your grace. 

I came to her from Claudio, and desir'd her 
To try her gracious fortune with Lord Angelo 
For her poor brother's pardon. 

Isabella. That 's he indeed. 

Duke. You were not bid to speak. 

Lucio. No, my good lord ; 

Nor wish'd to hold my peace. 

Duke. I wish you now, then : 

Pray you, take note of it; and when you have 
A business for yourself, pray heaven you then 
Be perfect. 

Lucio. I warrant your honour. 

Duke. The warrant 's for yourself; take heed to 't. 

Isabella. This gentleman told somewhat of my tale, — 

Lucio. Right. 

Duke. It may be right, but you are i' the wrong 
To speak before your time. — Proceed. 

Isabella. I went 

To this pernicious caitiff deputy, — 



ACT V. SCENE I. 



H3 



Duke. That 's somewhat madly spoken. 

Isabella. Pardon it; 

The phrase is to the matter. 90 

Duke. Mended again. The matter; proceed. 

Isabella. In brief, to set the needless process by, 
How I persuaded, how I pray'd, and kneel'd, 
How he refell'd me, and how I replied, — 
For this was of much length, — the vile conclusion 
I now begin with grief and shame to utter. 
He would not, but by gift of my chaste body 
To his concupiscible intemperate lust, 
Release my brother; and, after much debatement, 
My sisterly remorse confutes mine honour, 100 

And I did yield to him; but the next morn betimes, 
His purpose surfeiting, he sends a warrant 
For my poor brother's head. 

Duke. This is most likely! 

Isabella. O, that it were as like as it is true! 

Duke. By heaven, fond wretch, thou know'st not what thou 
speak'st, 
Or else thou art suborn'd against his honour 
In hateful practice. First, his integrity 
Stands without blemish. Next, it imports no reason 
That with such vehemency he should pursue 
Faults proper to himself. If he had so offended, *io 

He would have weigh'd thy brother by himself, 
And not have cut him off. Some one hath set you on ; 
Confess the truth, and say by whose advice 
Thou cam'st here to complain. 

Isabella. And is this all? 

Then, O you blessed ministers above, - 
Keep me in patience, and with ripen'd time 
Unfold the evil which is here wrapt up 
In countenance ! — Heaven shield your grace from woe, 
As I, thus vvrong'd, hence unbelieved go! 

H 



II 4 MEASURE FOR MEASURE. 

Duke. I know you 'd fain be gone. — An officer! — I20 

To prison with her! — Shall we thus permit 
A blasting and a scandalous breath to fall 
On him so near us? This needs must be a practice. 
Who knew of your intent and coming hither? 

Isabella. One that I would were here, Friar Lodowick? 

Duke. A ghostly father, belike. — Who knows that Lodo- 
wick ? 

Lucio. My lord, I know him; 't is a meddling friar. 
I do not like the man ; had he been lay, my lord, 
For certain words he spake against your grace 
In your retirement, I had swing'd him soundly. , 30 

Duke. Words against me ! this' a good friar, belike ! 
And to set on this wretched woman here 
Against our substitute ! — Let this friar be found. 

Lueio. But yesternight, my lord, she and that friar, 
I saw them at the prison, — a saucy friar, 
A very scurvy fellow. 

Friar Peter. Blessed be your royal grace ! 
I have stood by, my lord, and I have heard 
Your royal ear abus'd. First, hath this woman 
Most wrongfully accus'd your substitute, i 4 o 

Who is as free from touch or soil with her 
As she from one ungot. 

Duke. We did believe no less. 

Know you that Friar Lodowick that she speaks of? 

Friar Peter. I know him for a man divine and holy; 
Not scurvy, nor a temporary meddler, 
As he 's reported by this gentleman, 
And, on my trust, a man that never yet 
Did, as he vouches, misreport your grace. 

Lucio. My lord, most villanously; believe it. 

Friar Peter. Well, he in time may come to clear himself, 
But at this instant he is sick, my lord, 151 

Of a strange fever. Upon his mere request, 



ACT V. SCENE L 



"5 



Being come to knowledge that there was complaint 

Intended 'gainst Lord Angelo, came I hither, 

To speak, as from his mouth, what he doth know 

Is true and false, and what he with his oath 

And all probation will make up full clear, 

Whensoever he 's convented. First, for this woman, 

To justify this worthy nobleman, 

So vulgarly and personally accus'd, 160 

Her shall you hear disproved to her eyes, 

Till she herself confess it. 

Duke. Good friar, let 's hear it. — 

\Isabella is carried off guarded; and Mariana 
comes forward. 
Do you not smile at this, Lord Angelo? 
O heaven, the vanity of wretched fools ! — 
Give us some seats. — Come, cousin Angelo; 
In this I '11 be impartial; be you judge 
Of your own cause. — Is this the witness, friar? 
First, let her show her face, and after speak. 

Mariana. Pardon, my lord ; I will not show my face 
Until my husband bid me. 170 

Duke. What, are you married? 

Mariana. No, my lord. 

Duke. Are you a maid ? 

Mariana. No, my lord. 

Duke. A widow, then ? 

Mariana. Neither, my lord. 

Duke. Why, you are nothing then ; neither maid, widow, 
nor wife ? 

Lucio. My lord, she may be a punk ; for many of them are 
neither maid, widow, nor wife. i&> 

Duke. Silence that fellow ; I would he had some cause 
To prattle for himself. 

Lucio. Well, my lord. 

Mariana. My lord, I do confess I ne'er was married; 



n6 MEASURE FOR MEASURE. 

And I confess besides I am no maid : 

I have known my husband; yet my husband 

Knows not that ever he knew me. 

Lucio. He was drunk then, my lord ; it can be no better. 

Duke. For the benefit of silence, would thou wert so too ! 

Lucio. Well, my lord. 190 

Duke. This is no witness for Lord Angelo. 

Mariana. Now I come to 't, my lord : 
She that accuses him of fornication, 
In self-same manner doth accuse my husband, 
And charges him, my lord, with such a time 
When I '11 depose I had him in mine arms 
With all the effect of love. 

Angelo. Charges she more than me? 

Mariana. Not that I know. 

Duke. No ? you say your husband. 

Mariana. Why, just, my lord, and that is Angelo, 200 

Who thinks he knows that he ne'er knew my body, 
But knows, he thinks, that he knows Isabel's. 

Angelo. This is a strange abuse. — Let 's see thy face. 

Mariana. My husband bids me; now I will unmask. — 

[ Unveiling. 
This is that face, thou cruel Angelo, 
Which once thou swor'st was worth the looking on; 
This is the hand which, with a vow'd contract, 
Was fast belock'd in thine ; this is the body 
That took away the match from Isabel, 

And did supply thee at thy garden-house 210 

In her imagin'd person. 

Duke. Know you this woman? 

Lucio. Carnally, she says. 

Duke. Sirrah, no more ! 

Lucio. Enough, my lord. 

Angelo. My lord, I must confess I know this woman ; 
And five years since there was some speech of marriage 



ACT V. SCENE I. 

Betwixt myself and her, which was broke off, 

Partly for that her promised proportions 

Came short of composition, but in chief 

For that her reputation was disvalued 

In levity: since which time of five years 

I never spake with her, saw her, nor heard from her, 

Upon my faith and honour. 

Mariana. Noble prince, 

As there comes light from heaven and w r ords from breath, 
As there is sense in truth and truth in virtue, 
I am affianc'd this man's wife as strongly 
As words could make up vows; and, my good lord, 
But Tuesday night last gone in 's garden-house 
He knew me as a wife. As this is true, 
Let me in safety raise me from my knees; 
Or else for ever be confixed here, 
A marble monument ! 

Angelo. I did but smile till now : 

Now, good my lord, give me the scope of justice; 
My patience here is touch'd. I do perceive 
These poor informal women are no more 
But instruments of some more mightier member 
That sets them on. Let me have way, my lord, 
To find this practice out. 

Duke. Ay, with my heart ; 

And punish them to your height of pleasure. — 
Thou foolish friar, and thou pernicious woman, 
Compact with her that 's gone, think'st thou thy oaths, 
Though they would swear down each particular saint, 
Were testimonies against his worth and credit 
That 's seal'd in approbation ? — You, Lord Escalus, 
Sit with my cousin ; lend him your kind pains 
To find out this abuse, whence 't is deriv'd. — 
There is another friar that set them on ; 
Let him be sent for. 



117 



Il8 MEASURE FOR MEASURE. 

Friar Peter. Would he were here, my lord ! for he indeed 
Hath set the women on to this complaint. 
Your provost knows the place where he abides, 250 

And he may fetch him. 

Duke. Go do it instantly. — [Exit Provost. 

And you, my noble and well-warranted cousin, 
Whom it concerns to hear this matter forth, 
Do with your injuries as seems you best, 
In any chastisement. I for a while will leave you; 
But stir not you till you have well determin'd 
Upon these slanderers. 

Escalus. My lord, we '11 do it throughly. — [Exit Duke. 
Signior Lucio, did not you say you knew that Friar Lodowick 
to be a dishonest person ? 260 

Lucio. Cucullus non facit monachum : honest in nothing 
but in his clothes; and one that hath spoke most villainous 
speeches of the duke. 

Escalus. We shall entreat you to abide here till he come, 
and enforce them against him; we shall find this friar a 
notable fellow. 

Lucio. As any in Vienna, on my word. 

Escalus. Call that same Isabel here once again ; I would 
speak with her. — [Exit an Attendant.] Pray you, my lord, 
give me leave to question; you shall see how I '11 handle 
her. 2?l 

Lucio. Not better than he, by her own report. 

Escalus. Say you ? 

Lucio. Marry, sir, I think, if you handled her privately, 
she would sooner confess; perchance, publicly, she '11 be 
ashamed. 

Escalus. I will go darkly to work with her. 

Lucio. That 's the way; for women are light at midnight. 



ACT V. SCENE I. 



119 



Re-enter Officers with Isabella; and Provost with the 
Duke in his friar's habit. 

Escalns. Come on, mistress. — Here 's a gentlewoman 
denies all that you have said. 280 

Lucio. My lord, here comes the rascal I spoke of; here 
with the provost. 

Escalus. In very good time; speak not you to him till we 
call upon you. 

Lucio. Mum. 

Escalus. Come, sir; did you set these women on to slander 
Lord Angelo? they have confessed you did. 

Duke. 'T is false. 

Escalus. How! know you where you are? 

Duke. Respect to your great place! and let the devil 290 
Be sometime honour'd for his burning throne ! — 
Where is the duke? 't is he should hear me speak. 

Escalus. The duke 's in us, and we will hear you speak; 
Look you speak justly. 

Duke. Boldly, at least. — But, O, poor souls, 
Come you to seek the lamb here of the fox? 
Good night to your redress ! Is the duke gone? 
Then is your cause gone too. The duke 's unjust, 
Thus to retort your manifest appeal, 

And put your trial in the villain's mouth 300 

Which here you come to accuse. 

Lucio. This is the rascal ; this is he I spoke of. 

Escalus. Why, thou unreverend and unhallow'd friar, 
Is 't not enough thou hast suborn'd these women 
To accuse this worthy man, but, in foul mouth 
And in the witness of his proper ear, 
To call him villain? and then to glance from him 
To the duke himself, to tax him with injustice? — 
Take him hence; to the rack with him! — We '11 touze you 
Joint by joint, but we will know his purpose. 310 

What, unjust! 



J20 MEASURE FOR MEASURE. 

Duke. Be not so hot; the duke 

Dare no more stretch this finger of mine than he 
Dare rack his own j his subject am I not, 
Nor here provincial. My business in this state 
Made me a looker-on here in Vienna. 
Where I have seen corruption boil and bubble 
Till it o'er-run the stew; laws for all faults, 
But faults so countenanc'd, that the strong statutes 
Stand like the forfeits in a barber's shop, 
As much in mock as mark. 320 

Escalus. Slander to the state ! Away with him to 
prison ! 

Angelo. What can you vouch against him, Signior Lu- 
cio? 
Is this the man that you did tell us of? 

Lucio. T is he, my lord. — Come hither, goodman bald- 
pate; do you know me? 

Duke. I remember you, sir, by the sound of your voice; I 
met you at the prison, in the absence of the duke. 

Lucio. O, did you so? And do you remember what you 
said of the duke? 

Duke. Most notedly, sir. 330 

Lucio. Do you so, sir? And was the duke a fleshmonger, 
a fool, and a coward, as you then reported him to be? 

Duke. You must, sir, change persons with me, ere you 
make that my report; you, indeed, spoke so of him, and 
much more, much worse. 

Lucio. O thou damnable fellow! Did not I pluck thee 
by the nose for thy speeches? 

Duke. I protest I love the duke as I love myself. 

Angelo. Hark, how the villain would close now, after his 
treasonable abuses! 340 

Escalus. Such a fellow is not to be talked withal. — Away 
with him to prison ! — Where is the provost? — Away with him 
to prison! lay bolts enough upon him; let him speak no 



ACT V. SCENE I. 12 1 

more. — Away with those giglots too, and with the other con- 
federate companion ! 

Duke. [To Provost] Stay, sir; stay awhile. 

Angelo. What, resists he ? — Help him, Lucio. 

Lucio. Come, sir ; come, sir ; come, sir ; foh, sir ! Why, 

you bald-pated, lying rascal, you must be hooded, must you? 

Show your knave's visage, with a pox to you ! show your 

sheep-biting face, and be hanged an hour ! Will 't not off? 

[Pulls off the Friar's hood and discovers the Duke. 

Duke. Thou art the first knave that e'er mad'st a 
duke. — 
First, provost, let me bail these gentle three. — 353 

[To Lucio] Sneak not away, sir, for the friar and you 
Must have a word anon. — Lay hold on him. 

Lucio. This may prove worse than hanging. 

Duke. [To Escalus] What you have spoke I pardon; sit 
you down. 
We '11 borrow place of him. — [To Angelo] Sir, by your leave. 
Hast thou or word, or wit, or impudence, 
That yet can do thee office? If thou hast, 360 

Rely upon it till my tale be heard, 
And hold no longer out. 

Angelo. O my dread lord, 

I should be guiltier than my guiltiness, 
To think I can be undiscernible, 
When I perceive your grace, like power divine, 
Hath look'd upon my passes. Then, good prince, 
No longer session hold upon my shame, 
But let my trial be mine own confession. 
Immediate sentence then and sequent death 
Is all the grace I beg. 

Duke. Come hither, Mariana.- - 370 

Say, wast thou e'er contracted to this woman? 

Angelo. I was, my lord. 

Duke. Go take her hence, and marry her instantly. — 



I22 MEASURE FOR MEASURE. 

Do you the office, friar; which consummate, 
Return him here again. — Go with him, provost. 

[Exeunt Angelo, Mariana, Friar Peter, and Provost. 

Escalus. My lord, I am more amaz'd at his dishonour 
Than at the strangeness of it. 

Duke. Come hither, Isabel. 

Your friar is now your prince : as I was then 
Advertising and holy to your business, 

Not changing heart with habit, I am still 380 

Attorney'd at your service. 

Isabella. O, give me pardon, 

That I, your vassal, have employ'd and pain'd 
Your unknown sovereignty! 

Duke. You are pardon'd, Isabel ; 

And now, dear maid, be you as free to us. 
Your brother's death, I know, sits at your heart ; 
And you may marvel why I obscur'd myself, 
Labouring to save his life, and would not rather 
Make rash remonstrance of my hidden power 
Than let him so be lost. O most kind maid, 
It was the swift celerity of his death, 390 

Which I did think with slower foot came on, 
That brain'd my purpose. But, peace be with him ! 
That life is better life, past fearing death, 
Than that which lives to fear. Make it your comfort, 
So happy is your brother. 

Isabella. I do, my lord. 

Re-etiter Angelo, Mariana, Friar Peter, and Provost. 

Duke. For this new-married man approaching here, 
Whose salt imagination yet hath wrong'd 
Your well defended honour, you must pardon 
For Mariana's sake ; but as he adjudg'd your brother, — 
Being criminal, in double violation 400 

Of sacred chastity and of promise-breach 



ACT V. SCENE I. 



123 



Thereon dependent, for your brother's life, — 

The very mercy of the law cries out 

Most audible, even from his proper tongue, 

1 An Angelo for Claudio, death for death !' 

Haste still pays haste, and leisure answers leisure ; 

Like doth quit like, and measure still for measure. — 

Then, Angelo, thy fault 's thus manifested, 

Which, though thou wouldst deny, denies thee vantage. 

We do condemn thee to the very block 410 

Where Claudio stoop'd to death, and with like haste. — 

Away with him ! 

Mariana. O my most gracious lord, 

I hope you will not mock me with a husband. 

Duke. It is your husband mock'd you with a husband. 
Consenting to the safeguard of your honour, 
I thought your marriage fit; else imputation, 
For that he knew you, might reproach your life 
And choke your good to come. For his possessions, 
Although by confiscation they are ours, 

We do instate and widow you withal, 420 

To buy you a better husband. 

Mariana. O my dear lord, 

I crave no other, nor no better man. 

Duke. Never crave him ; we are definitive. 

Mariana. Gentle my liege, — [Kneeling. 

Duke. You do but lose your labour. — 

Away with him to death ! — [To Lucio] Now, sir, to you. 

Mariana. O my good lord ! — Sweet Isabel, take my part ; 
Lend me your knees, and all my life to come 
I '11 lend you all my life to do you service. 

Duke. Against all sense you do importune her. 
Should she kneel down in mercy of this fact, 430 

Her brother's ghost his paved bed would break, 
And take her hence in horror. 

Mariana. Isabel, 



124 MEASURE FOR MEASURE. 

Sweet Isabel, do yet but kneel by me; 
Hold up your hands, say nothing; I '11 speak all. 
They say, best men are moulded out of faults, 
And, for the most, become much more the better 
For being a little bad ; so may my husband. 

Isabel, will you not lend a knee ? 
Duke. He dies for Claudio's death. 

Isabella. Most bounteous sir, \Kneeling. 

Look, if it please you, on this man condemn'd, 4 jo 

As if my brother liv'd. I partly think 

A due sincerity govern'd his deeds, 

Till he did look on me ; since it is so, 

Let him not die. My brother had but justice, 

In that he did the thing for which he died. 

For Angelo, 

His act did not o'ertake his bad intent, 

And must be buried but as an intent 

That perish'd by the way. Thoughts are no subjects — 

Intents but merely thoughts. 

Mariana. Merely, my lord. 450 

Duke. Your suit 's unprofitable ; stand up, I say. — 

1 have bethought me of another fault. — 
Provost, how came it Claudio was beheaded 
At an unusual hour ? 

Provost. It was commanded so. 

Duke. Had you a special warrant for the deed ? 

Provost. No, my good lord; it was by private message. 

Duke. For which I do discharge you of your office ; 
Give up your keys. 

Provost. Pardon me, noble lord. 

I thought it was a fault, but knew it not, 
Yet did repent me, after more advice; 460 

For testimony whereof, one in the prison, 
That should by private order else have died, 
I have reserv'd alive. 



ACT V. SCENE I. 125 

Duke. What 's he ? 

Provost. His name is Barnardine. 

Duke. I would thou hadst done so by Claudio. — 
Go fetch him hither; let me look upon him. {Exit Provost 

Escalus. I am sorry, one so learned and so wise 
As you, Lord Angelo, have still appear'd, 
Should slip so grossly, both in the heat of blood, 
And lack of temper'd judgment afterward. 

Angelo. I am sorry that such sorrow I procure, 4 7 o 

And so deep sticks it in my penitent heart 
That I crave death more willingly than mercy ; 
'T is my deserving, and I do entreat it. 

Re-enter Provost, with Barnardine, Claudio muffled, and 
Juliet. 

Duke. Which is that Barnardine ? 

Provost. This, my lord. 

Duke. There was a friar told me of this man. — 
Sirrah, thou art said to have a stubborn soul, 
That apprehends no further than this world, 
And squar'st thy life according. Thou 'rt condemn'd; 
But, for those earthly faults, I quit them all, 
And pray thee take this mercy to provide 480 

For better times to come. — Friar, advise him ; 
I leave him to your hand.— What muffled fellow 's that ? 

Provost. This is another prisoner that I sav'd, 
Who should have died when Claudio lost his head, 
As like almost to Claudio as himself. [Unmuffles Claudio. 

Duke. [To Isabella] If he be like your brother, for his sake 
Is he pardon'd ; and, for your lovely sake, 
Give me your hand, and say you will be mine, 
He is my brother too;— but fitter time for that 
By this Lord Angelo perceives he 's safe ; 490 

Methinks I see a quickening in his eye.— 
Well, Angelo, your evil quits you well : 



126 MEASURE FOR MEASURE. 

Look that you love your wife; her worth worth yours. — 

I find an apt remission in myself; 

And yet here 's one in place I cannot pardon. — 

[To Lucio] You, sirrah, that knew me for a fool, a coward, 

One all of luxury, an ass, a madman, 

Wherein have I deserved so of you, 

That you extol me thus ? 

Lucio. Faith, my lord, I spoke it but according to the trick. 
If you will hang me for it, you may; but I had rather it 
would please you I might be whipt. 502 

Duke. Whipt first, sir, and hang'd after. — 
Proclaim it, provost, round about the city, 
If any woman 's wrong'd by this lewd fellow — 
As I have heard him swear himself there 's one 
Whom he begot with child — let her appear, 
And he shall marry her ; the nuptial finish'd, 
Let him be whipt and hang'd. 

Lucio. I beseech your highness, do not marry me to a 
whore. Your highness said even now, I made you a duke ; 
good my lord, do not recompense me in making me a cuckold. 

Duke. Upon mine honour, thou shalt marry her. 513 

Thy slanders I forgive, and therewithal 
Remit thy other forfeits. — Take him to prison, 
And see our pleasure herein executed. 

Lucio. Marrying a punk, my lord, is pressing to death, 
whipping, and hanging. 

Duke. Slandering a prince deserves it. — 

[Exeunt Officers with Lucio. 
She, Claudio, that you wrong'd, look you restore. — 520 

Joy to you, Mariana ! — Love her, Angelo; 
I have confess'd her and I know her virtue. — 
Thanks, good friend Escalus, for thy much goodness; 
There 's more behind that is more gratulate. — 
Thanks, provost, for thy care and secrecy; 
We shall employ thee in a worthier place. — 



ACT V. SCENE I. 



127 



Forgive him, Angelo, that brought you home 

The head of Ragozine for Claudio's ; 

The offence pardons itself. — Dear Isabel, 

I have a motion much imports your good, 53 o 

Whereto if you '11 a willing ear incline, 

What 's mine is yours and what is yours is mine. — 

So, bring us to our palace, where we '11 show 

What 's yet behind, that 's meet you all should know. \Exeunt. 




THE NUNNERY. 



Gentle Isabella, 
Turn you the key, and know his business of him (i. 5. 7). 




Here is the hand and seal of the duke (iv. 2. 183). 



NOTES 



ABBREVIATIONS USED IN THE NOTES. 

Abbott (or Gr.), Abbott's Shakespearian Grammar (third edition). 
A. S., Anglo-Saxon. 

A. V., Authorized Version of the Bible (1611). 

B. and F., Beaumont and Fletcher. 
B. J., Ben Jonson. 

Camb. ed., " Cambridge edition" of Shakespeare, edited by Clark and Wright. 

Cf. (confer), compare. 

Clarke, " Cassell's Illustrated Shakespeare," edited by Charles and Mary Cowden- 
Clarke (London, n. d.). 

Coll., Collier (second edition). 

Coll. MS., Manuscript Corrections of Second Folio, edited by Collier. 

D., Dyce (second edition). 

H., Hudson ("Harvard" edition). 

Halliwell, J. O. Halliwell (folio ed. of Shakespeare). 

Id. (idem), the same. 

J. H., J. Hunter's ed. oiM.for M. (London, 1873). 

K., Knight (second edition). 

Nares, Glossary, edited by Halliwell and Wright (London, 1859). 

Prol., Prologue. 

S., Shakespeare. 

Schmidt, A. Schmidt's Shakespeare-Lexicon (Berlin, 1874). 

Sr., Singer. 

St., Staunton. 

Theo., Theobald. 

V., Verplanck. 

W., R. Grant White. 

Walker, Wm. Sidney Walker's Critical Examination of the Text 0/ Shakespeare 
(London, i860). 

Warb., Warburton. 

Wb., Webster's Dictionary (revised quarto edition of 1879). 

Wore, Worcester's Dictionary (quarto edition). 

The abbreviations of the names of Shakespeare's Plays will be readily understood ; as 
T. N. for Twelfth Night, Cor. for Coriolanus, 3 Hen. VI. for The Third Part of King 
Henry tJie Sixth, etc. P. P. refers to The Passionate Pilgrim ; V. and A . to Venus 
and Adonis ; L. C. to Lover's Complaint ; and Sonn. to the Sonnets. 

When the abbreviation of the name of a play is followed by a reference to page, 
Rolfe's edition of the play is meant. 

The numbers of the lines (except for the present play) are those of the " Globe "ed. 
or of the American reprint of that ed. 



NOTES. 




Look, the unfolding star calls up the shepherd (iv. 2. 192). 



INTRODUCTION. 

Whetstone's " Promos and Cassandra." — How little Shakespeare 
was really indebted to this earlier play (see p. 12 above) may be inferred 
from the following specimen of it (quoted by Knight), which may be com- 
pared with the corresponding scene (ii. 2) of Measure for Measure: 



I 3 2 



NOTES. 

Promos with the Sheriff, and their Officers. 

Pro. 'T is strange to think what swarms of unthrifts live 
Within this town, by rapine, spoil, and theft, 
That, were it not that justice oft them grieve, 
The just man's goods by rufflers should be reft. 
At this our 'size are thirty judg'd to die, 
Whose falls I see their fellows smally fear, 
So that the way is, by severity 
Such wicked weeds even by the roots to tear. 
Wherefore, sheriff, execute with speedy pace 
The damned wights, to cut off hope of grace. 

Sher. It shall be done. 

Cass, [to herself.'] O cruel words ! they make my heart to bleed: 
Now, now I must this doom seek to revoke, 
Lest grace come short when starved is the steed. — 

[Kneeling, speaks to Promos. 
Most mighty lord, a worthy judge, thy judgment sharp abate ; 
Vail thou thine ears to hear the 'plaint that wretched I relate. 
Behold the woeful sister here of poor Andrugio, 
Whom though that law awardeth death, yet mercy do him show. 
Weigh his young years, the force of love which forced his amiss, 
Weigh, weigh that marriage works amends for what committed is. 
He hath defil'd no nuptial bed, nor forced rape hath mov'd ; 
He fell through love who never meant but wife the wight he lov'd: 
And wantons sure to keep in awe these statutes first were made, 
Or none but lustful lechers should with rig'rous law be paid. 
And yet to add intent thereto is far from my pretence ; 
I sue with tears to win him grace that sorrows his offence. 
Wherefore herein, renowned lord, justice with pity pays ; 
Which two, in equal balance weigh' d, to heaven your fame will raise. 

Pro. Cassandra, leave off thy bootless suit ; by law he hath been tried- 
Law found his fault, law judg'd him death. 

Cass. Yet this may be replied : 

That law a mischief oft permits to keep due form of law — _ 
That law small faults, with greatest, dooms, to keep men still in awe. 
Yet kings, or such as execute regal authority. 
If 'mends be made, may over-rule the force of law with mercy. 
Here is no wilful murder wrought which asketh blood again ; 
Andrugio's fault may valued be. marriage wipes out his stain. 

Pro. Fair dame, I see the natural zeal thou bear'st to Andrugio, 
And for thy sake (not his desert) this favour will I show : 
I will reprieve him yet a while, and on the matter pause; 
To-morrow you shall licence have afresh to plead his cause. 
Sheriff, execute my charge, but stay Andrugio 
Until that you in this behalf more of my pleasure know. 

Sher. I will perform your will. 

Cass. O most worthy magistrate, myself thy thrall I bind, 
Even for this little light'ning hope which at thy hands I find. 
Now will I go and comfort him which hangs 'twixt death and life. [Exit. 

Pro. Happy is the man that enjoys the love of such a wife ! 
I do protest her modest words hath wrought in me amaze. 
Though she be fair, she is not deck'd with garish shows for gaze ; 
Her beauty lures, her looks cut off fond suits with chaste disdain ; 
O God, I feel a sudden change that doth my freedom chain ! 
VVhat didst thou say? Fie, Promos, fie! of her avoid the thought: 
And so I will ; my other cares will cure what love has wrought. 
Come away. [Exeunt. 



ACT 1. SCENE I. 133 



ACT I. 

Dramatis Persons.— The following list (cf. Oth. p. 153) is given in 
the folio at the end of the play, p. 84 : 

Thomas. 
The Scene Vienna. 

The names of all the Actors. 

Vincentio : the Duke. 

Angelo, the Deputie. 

Escalus, an ancient Lord. 

Claudio, a yong Gentleman, 

Lucio, afantastique. 

2. Other like Gentlemen. 

Prouost. 



, 2. Friers. 
Peter. ) 

Elbow, a simple Constable. 

Froth, a foolish Gentleman. 

Clozvne. 

Abhorson, an Executioner. 

Bamardine, a dissolute prisoner. 

Isabella, sister to Claudio. 

Mariana, betrothed to Angelo. 

Iuliet, beloued of Claudio. 

Francisco, a Nun. 

Mistris Ouer-don, a Bawd. 



Scene I. — 5. Put to know. " Compelled to acknowledge " (Steevens). 
Cf. 2 Hen. VI. iii. I. 43 : " had I first been put to speak my mind ;" and 
Cymb. ii. 3. 1 10 : " You put me to forget a lady's manners." Pope changed 
put to " not," and the Coll. MS. has " apt." 

6. Lists. "Bounds, limits" (Johnson). Cf. Oth. iv. 1. 76: "Confine 
yourself within a patient list ;" and see also Ham. p. 249. 

7, 8. No more remains Bjit that, etc. A passage which has perplexed 
the commentators. The folio reads : 

"Then no more remaines 
But that, to your sufficiency, as your worth is able, 
And let them worker" 

Theo. conjectured that something had been lost, and attempted to supply 
it thus : 

" But that to your sufficiency you add 
Due diligency as your worth is able." 
Hanmer gave : 

" But that to your sufficiency you join 
A will to serve us as your worth is able ;" 

and Tyrwhitt conjectured : 

"But that to your sufficiency you put 
A zeal as willing as your worth is able." 

Sundry other ways of filling the supposed gap have been proposed, but 
these will serve as samples. Others have assumed that the passage is 
not defective but corrupt, and have tried to emend it by reading " But 
that to your sufficiencies your worth is abled " (Johnson) ; " But your 
sufficiency as worth is able" (Farmer) ; "But thereto your sufficiency," 
etc. (Sr.) ; " But add to your sufficiency your worth, And let," etc. (Coll. 
MS.) ; " But t' add to your sufficiency" (H.), and so on. The pointing 
in the text is due to W., who takes that to be the demonstrative referring 



I3 4 NOTES. 

to science, and remains to be = is wanting. The meaning then is : " then, 
as your worth is able [that is, your high character rendering you compe- 
tent], no more is wanting to complete your capacity for the fulfilment of 
your trust but that [that is, that knowledge of government of which I 
have just spoken] ; and let them [that is, that knowledge and your worth] 
work together." If that does not refer to science, it may refer, as V. sug- 
gests, " to the commission, which the Duke must have in his hand, or be- 
fore him," as is evident from 13 just below. St. explains that in the same 
way, and would read : 

"But that [tendering his commission] to your sufficiency, 
And, as your worth is able, let them work." 

Clarke finds the antecedent of that in strength = u the governing power 
embodied in the commission he gives him." Any one of these interpreta- 
tions of the original text is to be preferred to any of the proposed emen- 
dations. 

10. Terms. " The technical language of the courts. An old book 
called Les Termes de la Ley (written in Henry the Eighth's time) was in 
Shakespeare's days, and is now, the accidence of young students in the 
law " (Blackstone). 

11. Pregnant. Ready. Cf. T and C iv. 4. 90: "most prompt and 
pregnant." See also Lear, p. 198. 

16. What figure of lis, etc. How do you think he will represent ox per- 
sonate us ? 

17. With special soul. This expression has troubled some of the critics, 
and "roll" (Warb.) and "seal" (Johnson) have been suggested in its 
place. Of course it is = with special preference, soul being used as heart 
often is. Steevens compares Temp. iii. 1. 44 : 

"for several virtues 
Have I lik'd several women, never any 
With so full soul," etc. 

20. Deputation. Deputyship, viceregency. 

27. Character. In its original sense of writing ; as in i. 2. 145 and v. 
I. II below. Johnson asks, " What is there peculiar in this, that a man's 
life informs the observer of his history ?" and conjectures " look " for life. 
Mason thought that character and history should be transposed. Of 
course, no change is called for, the meaning being simply : in the record 
of your outward life we read your whole history. 

29. Belongings. " Endowments " (Malone). 

30. So proper. So personally or peculiarly. Cf. T. of A. i. 2. 106 : 
" What better or properer can we call our own than the riches of our 
friends ?" 

31. They on thee. Hanmer " corrected " they to " them," and has been 
followed by many editors. Cf. Gr. 205-216. 

33. For if our virtues, etc. Theo. quotes Horace's 

" Paulum sepultae distat inertiae 
Celata virtus." 



ACT I. SCENE I. 135 

36. To fine issues. " For high purposes " (Johnson). 

38. She determines, etc. " She requires and allots to herself the same 
advantages that creditors usually enjoy, — thanks for the endowments she 
has bestowed, and extraordinary exertions in those whom she hath thus 
favoured, by way of interest for what she has lent " (Malone). For use— 
interest, cf. Much Ado, ii. 1. 288 : " He lent it me awhile, and I gave him 
use for it," etc. 

40. But I do bend my speech, etc. " I direct my speech to one who is 
able to teach me how to govern" (Warb.). My part in him — my office 
delegated to him. For advertise — instruct, cf. Hen. VIII. ii. 4. 178 : 

" Wherein he might the king his lord advertise 
Whether our daughter were legitimate," etc. 

The accent in S. is regularly on the penult. Hanmer reads "can in my 
part me advertise." 

42. Hold therefore, Angelo. If nothing has been lost here, we must 
accept Steevens's explanation that this is what the duke says on tender- 
ing his commission to him. Johnson explains it : " That is, continue to 
be Angelo ; hold as thou art." Tyrwhitt thinks that "the duke may be 
understood to speak of himself: Let me therefore hold, or stop," as if 
checking himself in a needless exhortation. W. plausibly conjectures 
" Hold therefore, Angelo, our place a*nd power." Cf. i. 3. 13 below. 

43. In our remove. In our absence. 

44. Mortality and mercy, etc. " That is, ' I delegate to thy tongue the 
power of pronouncing sentence of death, and to thy heart the privilege 
of exercising mercy.' These are words of great import, and ought to be 
made clear, as on them depends the chief incident of the play" (Douce). 

46. First in question. " First called for, first appointed " (Johnson). 
Schmidt makes it = " first in consideration." 

47. Commission. Metrically a quadrisyllable. This making two syl- 
lables of -ion is rare in the middle of a line. To the examples given by 
Abbott (Gr. 479) we can, however, add the present, with 1 Hen. IV. iv. 1. 
62 ("division "), 3 Hen. VI. i. 1. 133 ("rebellion "), and Hen. VIII. ii. 4. 1 
("commission"). Cf. "patient" in 3 Hen. VI. i. 1. 215. 

51. Leaveu'd. Well considered; "not declared as soon as it fell into 
the imagination, but suffered to work long in the mind" (Johnson). 
Warb. changed the word to " level'd." 

54. That it prefers itself, etc. That is, it places itself before the most 
important business. 

56. Importune. Always accented on the penult by S. See Ham. p. 
190. 

61. Bring you. Escort or accompany you ; as often. See W. T. iv. 3. 
122, Hen. V. ii. 3. 1, etc. Cf. Gen. xviii. 16, Acts, xxk 5, 2 Cor. i. 16, etc. 
For the adverbial use of something, see Gr. 68. 

64. Your scope. " Your amplitude of power " (Johnson). 

68. Stage me. Make a show of myself. For the verb, cf. A. and C. iii. 
13. 30 and v. 2. 217. On the passage, see p. 10 above. 

70. Aves. " All-hails " (Cor. v. 3. 139), acclamations. 

72. Does affect it. Is fond of it, or pleased with it. 



136 NOTES. 

78. To look into the bottom of my place. That is, to know it thorough- 

Scene II. — 4. Its. One of the rare instances of the word in S. Here 
it will be noted that it is emphatic. Gr. 228. 

15. That prays for peace. A petition for peace was included in the 
form of grace then in common use. 

Hanmer changes before to "after;" and the Camb. editors remark: 
" Hanmer's reading is recommended by the fact that in the old forms of 
grace used in many colleges, and, as we are informed, at the Inns of 
Court, the prayer for peace comes always after, and never before, meat. 
But as the mistake ^nay easily have been made by S., or else deliberate- 
ly put into the mouth of the 1st Gentleman, we have not altered the 
text." 

21. What, in metre? K. takes this to refer to the ancient metrical 
graces arranged to be said or sung. Schmidt thinks it may mean "in a 
play, on the stage." Proportion in the reply may be —"measure," as 
Warb. explains it, or simply = form, arrangement. 

24. Grace is grace, etc. " Grace is as immutably grace as his merry 
antagonist is a wicked villain. Difference in religion cannot make a 
grace not to be grace, a prayer not to be holy ; as nothing can make a 
villain not to be a villain " (Johnson). 

27. There went but a pair of shears between us. " We are both of the 
same piece" (Johnson). Malone quotes Marston, Malcontent, 1604: 
" There goes but a pair of shears betwixt an emperor and the son of a 
bagpiper ; only the dyeing, dressing, pressing, and glossing makes the 
difference." 

32. Had as lief. Good English then as now. See A. Y L. p. 139. 

33. Piled. "A quibble between /*fo/=peeled, stripped of hair, bald 
(from the French disease) and piled as applied to velvet, three-piled velvet 
meaning the finest and costliest kind" (D.). 

37. Forget to drink after thee. That is, lest I catch the disease in that 
way. 

39. Done myself wrong. " Put myself in the wrong" (J. H.). 

44. I have purchased, etc. I have acquired or got, etc. Cf. A. Y. L. 
p. 177. 

The folio continues this speech to Lucio, but the context shows that 
it belongs to the 1st gentleman, to whom Pope transferred it. 

48. Dolours. For the play on dollars, cf. Temp. ii. I. 17 and Lear, ii. 4. 
54- 

50. A French crown. A common expression for a bald head, being a 
kindred joke to that in 33 above. -Cf. M. N. D. i. 2. 99: " Some of your 
French crowns have no hair at all," etc. 

54. Thy bones are hollow. Steevens quotes T. of A. iv. 3. 152 : 

" Consumptions sow 
In hollow bones of man." 

78. The sweat. The plague, which was popularly known as "the 
sweating sickness." See p. 10 above. 



ACT I. SCENE II. I37 

88. Houses in the suburbs. Houses of ill - fame were chiefly in the 
suburbs. 

104. Tho7)ias. A name commonly applied to tapsters, probably for 
the sake of the alliteration. 

108. Enter Provost, etc. The folio begins a new scene, " Scaena 
Tertia," here, and is followed by some modern eds. ; but there is evi- 
dently no change of scene. The Coll. MS. omits the name of Juliet 
here ; but the preceding line indicates that she is on the stage. Possi- 
bly, however, as H. suggests, " Pompey may be supposed to see her just 
as the others are entering and she is parting from them." It is evident 
from 137 below that she is not within hearing, nor near the speaker. 
The Camb. editors suppose that she was " following at a distance behind, 
in her anxiety for the fate of her lover." At the end of the play she ap- 
pears again without saying any thing. 

114. The zvords of heaven, etc. Some editors adopt the conjecture of 
Roberts, "The sword of heaven ;" but we accept Henley's explanation 
of the original text: "Authority, being absolute in Angelo, is finely styled 
by Claudio the de?ni-s;od. To this uncontrollable power the poet applies 
a passage from St. Paul to the Romans, ix. 15, 18, which he properly styles 
the words of heaven : 'for he saith to Moses, I will have mercy on whom 
I will have mercy,' etc. ; and again : ' Therefore hath he mercy on whom 
he will have mercy,' etc." 

119. Scope. Liberty, license ; as in i. 3. 35 below. 

121. Ravin down. Ravenously devour. Cf. Macb. ii. 4. 28 : 

"Thriftless ambition, that will ravin up 
Thine own life's means!" 

and Cymb. i. 6. 49 : "ravining first the lamb." Note also the adjective 
in A. IV. iii. 2. 120 : "the ravin lion." 

Their proper &zw — their own poison or destruction. Cf. Temp. iii. 3. 
60 : " Their proper selves," etc. 

122. A thirsty evil. In Sir William Davenant's Law against Lovers, 
which is founded on this play and Much Ado, this is changed to "An 
evil thirst." 

125. Morality. The folios misprint "mortality;" corrected by Rowe 
(after Davenant). 

135. Contract. Accented by S. on the first or second syllable, as suits 
the measure. Cf. Te?up. iv. 1. 84: "A contract of true love to celebrate," 
etc. 

136. Possession. H. makes this word a quadrisyllable (see on i. 1. 47 
above), and the line an Alexandrine ; but it is clearly better to consider 
it an ordinary line of five feet, with extra syllables which are easily 
slurred in pronunciation. Cf. the preceding line and 138 just below. 

138. Denunciation. Proclamation, declaration ; the only instance of 
the word in S. The Coll. MS. changes it to "pronunciation," but, as 
W. remarks, this only shows the incompetence and the want of authority 
of the corrector, and, perhaps, the lateness of his labours. Minsheu, 161 7, 
has " To denounce or declare," and Cooper, 1578, " Denuntiare, — to shew 
or tell to another, to give knowledge, to signifie, to denounce," etc. 



138 NOTES. 

140. Propagation. The reading of the later folios; the 1st has "propo- 
gation." Malone conjectures " prorogation," and Jackson " procuration." 
W. reads " preservation." A writer in the Edin. Mag., Nov. 1786, thinks 
that propagation may be from the Italian pagare, to pay, and=payment ; 
but this is improbable. It is more likely=continuing, keeping up. The 
dowry would appear to have been in some way dependent on her friends' 
approval of her chosen husband, and the couple wanted to keep up their 
hold upon it until they had managed to gain the favour of those in charge 
of it. For the use of propagate, cf. Chapman, Odyssey, xvi. (quoted by 
Steevens) : 

"to try if we, 

Alone, may propagate to victory 

Our bold encounters ;" 

and again, Iliad, iv. : 

" I doubt not but this night 
Even to the fleete to propagate the Greeks' unturned flight." 

J. H. thinks that for propagation means "that she might continue to re- 
ceive the interest." He assumes that Julietta was to receive the interest 
while unmarried, and the principal when married to a man approved by 
her friends. 

148. The fault and glimpse. "The faulty glimpse : a fault arising from 
the mind being dazzled by a novel authority of which the new governor 
has yet had only a glimpse, has yet taken only a hasty survey " (Malone). 
Johnson conjectured "flash " for fault, or that we should read "fault or 
glimpse." 

155. Stagger. Waver, am perplexed. 

156. Awakes me. For the me, see Gr. 220. 

157. Like unscour'd armour. Steevens quotes T. and C. iii. 3. 152 : 

"Quite out of fashion, like a rusty mail, 
In monumental mockery." 

158. Nineteen zodiacs. Nineteen circuits of the sun, or years. Whal- 
ley would change nineteen to "fourteen," on account of i. 3. 21 ; just as 
there Theo. reads " nineteen " for fourteen. Clarke remarks : " It is 
most characteristic that a young fellow like Claudio should carelessly 
mention somewhere about the period in question, while the staid duke 
cites it exactly." It may, however, be one of the poet's little slips in 
numbers. Cf. C. of E. p. 148 (note on Thirty-three years), or T. of S. p. 
128 (on This seven). 

159. Worn. Put in use ; suggested by the simile of the armour. 

162. Tickle. Ticklish, precarious. Cf. 2 Hen. VI. i. 1. 216: "on a 
tickle point." 

168. Receive her approbation. Enter upon her probation (cf. v. 1. 72 be- 
low), or novitiate. Malone quotes The Merry Devil of Edmonton, 1608 : 

" Madam, for a twelvemonth's approbation 
We mean to make the trial of our child." 

170. In my voice. In my name ; as in A. Y. L. ii. 4. 87 : " And in my 
voice most welcome shall you be." 



ACT I. SCENE III. 139 

173. Prone. Variously explained by the editors: " prompt, ready " 
(Nates and H.) ; "significant, expressive " ( M alone) ; "humble" (Stee- 
vens and W.) ; "deferential, gently submissive and supplicatory" 
(Clarke); "affectionate" (J. H.), etc. We are inclined to agree with 
Steevens and Clarke. Davenant changes the word to "sweet ;" which, 
as Steevens remarks, shows, like other of his alterations, "that what ap- 
pear difficulties to us were difficulties to him, who, living nearer the time 
of S., might be supposed to have understood his language more inti- 
mately." 

174. Move. The folio reading ; changed by Rowe to " moves." Cap- 
ell changes beside to " besides." 

178. Grievous imposition. "Under grievous penalties imposed'''' (John- 
son). 

179. Who. Often = which. Gr. 264. Hannier and W. read "which." 

180. Tick-tack. A sort of backgammon (Fr. tric-trac). 

Scene III. — 2. Dribbling. Weak, ineffectual. Possibly the word 
should be dribbing, as dribber, according to Steevens, was a term of 
contempt in archery. 

3. Complete. Accented on the first syllable because coming before the 
noun. Cf. L. L. L. i. 1. 137 : " A maid of grace and complete majesty ;" 
Rich. III. iv. 4. 189: "Than all the complete armour that thou wear'st," 
etc. See, on the other hand, T. G. of V. ii. 4. 73 : " He is complete in 
feature and in mind ;" K. John, ii. 1. 433: " Is the young Dauphin every 
way complete," etc. For many examples of this changeable accent of 
dissyllabic adjectives and participles, see Schmidt, p. 1413 fol. Cf. Cor. 
p. 255 (on Divine), and Cymb. p. 174 (on Supreme). 

8. The life removed. "A life of retirement " (Steevens). 

10. Bravery. Finery, showy dress; as in T. of S. iv. 3. 57: "With 
scarfs and fans and double change of bravery." See also A. Y. L. p. 165. 
Keeps— dwells ; as it is still used in some parts of this country. 

12. Stricture. Strictness ; the only instance of the word in S. Strict- 
ness, which Davenant substitutes, he does not use at all. Warb. would 
read "strict tire," ure being "an old word for use, practice." Steevens 
notes that it occurs in Promos and Cassandra : " The crafty man oft puts 
these wrongs in ure." 

20. Steeds. The folios have " weedes ;" corrected by Theo. Walker 
conjectures "wills." In the next line, the folios have "slip" for sleep, 
which is Davenant's word. Cf. ii. 2. 90 below. 

21. This fourteen. Changed by Theo. to "these nineteen." See on 
i. 2. 158 above. For this with a plural, cf. Much Ado, iii. 3. 134: "this 
seven year," etc. Gr. 87. 

27. Becomes. Not in the folio ; inserted by Pope. 
30. Quite at/noart. Cf. I Hen. IV. i. 1. 36 : 

"when all athwart there came 
A post from Wales loaden with heavy news.'' 

35. Sith. Since ; as in iv. 1. 73 below. See Ham. pp. 201, 246, 253, 



140 



NOTES. 



38. Permissive. The only instance of the word in S. 

42. And yet my nature never in the fight. And yet I myself never ap- 
pearing in the fight. Pope changed fight to "sight;" but strike home and 
ambush favour its retention as carrying out the metaphor of a contest or 
struggle. 

43. To do me slander. The- folios have "To do in slander." Hanmer 
reads " To do it slander ;" and there is not much choice between that 
and the reading in the text, which is Halliwell's. Steevens, in support 
of Hanmer's, cites 1 Hen. IV. iv. 3. 8 : " Do me no slander, Douglas." 
The Coll. MS. has "sight To draw on slander." Sr. conjectures "right 
To do him slander ;" D. " light To do it slander ;" and St. " win the fight 
To die in slander." 

The meaning of the whole passage is thus put by Clarke: "Angelo 
may, under cover of my name, enforce the law, while I take no part in the 
exertion that is opposed to my nature, and might bring me blame." 
Clarke reads "do it slander," it referring of course to nature; and the 
sense is obviously the same whether we read it or me. 

47. Bear me. Bear or conduct myself. The folio omits me, which 
Capell supplied. Pope reads " my person bear." 

51. Stands at a guard with. Is on his guard against ; or "stands cau- 
tiously on his defence" (Mason). Johnson makes it =" stands on terms 
of defiance." 

Scene IV. — 5. Votarists. For the feminine use, cf. Oth. iv. 2. 190. In 
T. of A. iv. 3. 27, Pope reads " Upon the sister votarists," etc. 

17. Stead. Help, be of service to; as in M. of V. i. 3. 7: "May you 
stead me?" Cf. Oth. p. 169. 

27. For that which. Malone conjectured " That for which ;" but the 
preposition is often omitted in the relative clause when it has been used 
with the antecedent. Cf. ii. 1. 15 and ii. 2. 119 below. See also Gr. 394. 

30. Make me not your story. Make me not your subject of mirth, or 
3'our jest. Cf. M. W. v. 5. 170 : "lam your theme " (that is, the subject 
of your jests, your laughing-stock). The commentators have needlessly 
tinkered the passage. Malone reads " Mock me not ; — your story ;" the 
Coll. MS. changes story to "scorn," and Sr. to "sport." 

32. The lapwing. The bird builds its nest on the ground, and diverts 
attention from it by running or flying to a distance and attracting the 
sportsman thither by fluttering and crying. Cf. C. of E. iv. 2. 27 : 

" Far from her nest the lapwing cries away ; 
My heart prays for him, though my tongue do curse." 

See our ed. p. 135. 

35. Renouncement. Renunciation of the world as a nun. S. uses the 
word only here, renunciation not at alL 

39. Fewness and truth. Briefly and truly. Cf. in few='m few words, 
in Hen. V. i. 2. 245, etc. See also i ii - 1. 219 below, where it is^in short. 

40. Lover. For the feminine use, cf. A. Y. L. iii. 4. 46, A. and C. iv. 14. 
IOI, and Cymb. v. 5. 172. The poet's Lover's Complaint is the lament 
of a deserted maiden. Blakewav remarks that the word was used in this 



ACT II. SCENE I. 141 

feminine sense long after the time of S., as by Lady Mary Wortley Mon- 
%' U sllfsT A ,ord not found elsewhere. The Coll. MS. has « seed- 

^C Poison. Plenty, harvest; as in Temp. ii. I. 163: "all foison, all 
oK.nHfnre •" Id iv. i. i io : " Earth's increase, foison plenty,' etc. 

1 TiUh Tillage as in Temp. ii. I. 152, and probably also in iv. 1. 
7 A 4 doTwhere tfe folio has « tithe.'' For the figure, cf. ten. 3- 5- 

co /r The Coll. MS. has "who's." 

« ^r, ««» J****** etc. To bear in hand was a common phrase 
for "keep in expectation, flatter with false hopes." See Macb. p. 208. 
Johnson wished to read " with hope of action. 
J ci M^mC The folio has "giving-out ;" corrected by Roue 

56. S5>« #**. "With the full extent, with the whole length 

(J °5 h 9 n rP; wanton stings, etc. Cf. Oth. i. 3 - 335 : " our raging motions, 

OU ^lS! ng Make dull (Fr. rebattre) ; used by S nowhere else. 

62 T Verve fear to use. "To intimidate use, that is, practices long 
countenanced by custom " (Johnson). Schmidt makes use and liberty- 
" the Diactice of liberty, licentious practice. - 

6q £« " Either "power of gaining favour" (Johnson) or "good 
fortune happiness " (Scnmidt) ; as in M. N. D. ii. 2. 89 : " 1 he more my 

^TmX/^er^t^ of my business. . Pope omits pith of 

72 Censur'd. Judged, passed sentence upon ; as in 11. I. 15, 29 below. 
Cf Lear. v. 3. 3 : " That are to censure them/' etc. 

8" Freely. The later folios have "truely." 

83'. Would owe them. Would have them. For «ra*=have, possess, cf. 
ii. 4. 123 below. 

86. The mother. The abbess, or prioress. 

88. Soon at night. This very night. See 2 Zfe«. 7F. p. 204. 



ACT II. 
SCENE I.-2. Fear. Affright ; as in T. of S. i. 2. 211 : "Tush, tush ! 
fear boys with bugs." Cf. K. John. p. I47- ... . 

6. Fall. Generally explained as transitive ; as m A. Y. L. 111. 5- 5 • 
"The common executioner, 
Whose heart the accustom'd sight of death makes hard 
Falls not the axe," etc. 
It may, however, be intransitive, as J. H. makes it : " Escalus desires tf* 
Angelo and he should act as keen instruments and cut a little, rather than 
fall as heavy weights on an offender and crush him to death. 

8. Know. Reflect, consider. . R helnw 

1.. Z?/W. Animal passion ; as in ii. 4- 15. J7?, and v. I. 468 below. 
Cf. also Much Ado, p. 131, note on Faith melteth tnto blood. 



1 42 NOTES. 

1 5. Which. In which. See on i. 4. 27 above. Hanmer reads " point you 
censure now in him," Capell "censure him for," and W. "where now." 

18. I not deny. The transposition of not is common. Cf. Temp. ii. 1. 
121, v. 1.38, 113,303, etc. Gr.305. 

22. What knows the law, etc. The folio reads " What knowes the 
Lawes," and some modern eds. give " What know the laws." Malone 
paraphrases the passage thus: " How can the administrators of the laws 
take cognizance of what I have just mentioned? How can they know 
whether the jurymen, who decide on the life or death of thieves, be them- 
selves as criminal as those whom they try ?" Pass on is of course used 
in the same sense as in 19 just above. 

23. Pregtiant. Full of probability, evident. Cf. Cymb. p. 209, and see 
also Lear, p. 198. 

28. For I have had. Because I have had, on the ground that I have 
had. See M. of V. p. 134, note on For he is a Christian. Gr. 150, 151. 

29. Censure. Judge, sentence. See on i. 4. 72 above. 

31. And nothing come in partial. And no partiality be urged or al- 
lowed. 

39. Some run from brakes of vice, and answer none. The folio reads : 
" Some run from brakes of Ice, and answere none." Rowe gave " through 
brakes of vice ;" and Malone, followed by most of the more recent edi- 
tors, adopted the vice. This seems on the whole the simplest and best 
emendation, where none is quite satisfactory. Brakes of vice, if it be what 
S. wrote, must mean thickets of vice, with perhaps the double idea of a 
complication of vices — many vices, as opposed to the smg\e fault of the 
next line — and that of thorny entanglements out of which escape would 
seem difficult. Steevens at first was inclined to read " breaks of ice," 
and explain the passage " some run away from danger, and stay to answer 
none of their faults ;" but afterwards adopted brakes of vice, taking brakes 
to mean "engines of torture," as in Holinshed and other writers of the 
time. See also Dr. Ingleby's Shakes. Hermeneutics, p. 145. 

47. The poor duke's constable. Cf. Much Ado, iii. 5. 22 (Dogberry's 
speech) : "the poor duke's officers." 

54. Precise villains. He means of course that they are precisely or 
literally villains ; but, as Clarke notes, the word gives the impression 
of " strict, severely moral," as in i. 3. 50 above : " Lord Angelo is pre- 
cise." 

55. Profanation. A blunder for profession. 

57. This comes off well. Johnson makes this=" this is nimbly spoken, 
this is volublv uttered ;" but it seems rather to mean (ironically, of course) 
this is well told. Cf. T. of A. i. 1. 29 : " this comes off well and excellent " 
(=this is well done). 

60. Out at elbmu. " A hit at the constable's threadbare coat, and at 
his being startled and put out by Angel o's peremptory repetition of his 
name " (Clarke). Cf. A. Y. L. iv. 1. 76 : " Very good orators, when they 
are out, they will spit," etc. 

62. Parcel -bawd. Part bawd. Qi. parcel -gilt in 2 Hen. IV. ii. 1. 94, and 
see our ed. p. 161. 

64. /Pot-house. Bagnio, or bathing- house. 



ACT II. SCENE I 



J 43 



67. Detest. Mrs. Quickly makes the same blunder in M. W. i. 4. 160 : 
"but, I detest, an honest maid as ever broke bread." 

88. Stewed prunes. A favourite dish in such houses. Cf. M. W. i. I. 
296, I Hen. IV. iii. 3. 128, and 2 Hen. IV. ii. 4. 159. 

91. China dishes. These, though not rare in the poet's day, were so 
costly that it was superfluous to say that they would not be found in com- 
mon use in a house like Mistress Overdone's. 

103. If you be remembered. If you recollect. Cf. A. Y. L. p. 184. 

108. Wot. Know ; used only in the present tense and the participle, 
for which see W. T. iii. 2. 77. 

114. Come me. The me is probably the "dativus ethicus," as in i. 2. 
156 above and iv. 2. 6 below ; but W. prefers to read " Come we." 

123. A lozver chair. That is, an easy-chair. 

The Bunch of Grapes. It was the custom in the time of S., and long 
after, to give names to particular rooms in taverns. See 1 Hen. IV. 
p. 164, note on The Half Moon. 

126. Aft open room and good for winter. The confusion of ideas is 
sufficiently characteristic of the speaker, but some of the critics have tried 
to make the passage logical. Talbot makes the preposterous suggestion 
that open is " perhaps from the same root as oven, a warm room ;" and 
the Coll. MS. substitutes " windows " for winter. 

129. Russia. Metrically a trisyllable. 

149. Supposed. "He means deposed' 1 '' (Malone). 

155. An it like you. If it please you. Cf. Hen. V. iii. prol. 32 : " The 
offer likes not," etc. Gr. 297. 

165. Justice or Iniquity. " That is, the constable or the fool. Escalus 
calls the latter Iniquity in allusion to the old Vice, a familiar character 
in the ancient moralities and dumb-shows" (Ritson). Cf. 1 Hen. IV. ii. 
4. 499: "that reverend vice, that grey iniquity;" Rich. III. iii. 1. 82: 
"like the formal Vice, Iniquity," etc. See also T. N. p. 159. 

168. Hannibal. "Mistaken by the constable for cannibal" (Johnson). 
Cf. 2 Hen. IV. ii. 4. 180 (Pistol's speech) : "Compare with Caesars and 
with Cannibals." 

182. Thou art to continue. Elbow evidently takes the " continue " of 
Escalus to refer to some penalty or other. 

196. Draw you. " Draw has here a cluster of senses. As it refers to the 
tapster, it signifies to drain, to empty ; as it is related to hang, it means to 
be conveyed to execution on a hurdle. In Froth's answer, it is the same 
as to bring along by some motive or power " (Johnson). For the play upon 
drawing and hanging, cf. Much Ado, iii. 2. 22 and K. John, ii. 1. 504. 

199. Drawn in. That is, taken in, swindled. 

203. Pompey. As he is called Thomas in i. 2. 104, Clarke suggests 
that Pompey was a name given him by waggish customers and adopted 
by himself; but it is quite as likely that the Thomas was the nickname. 
See on i. 2. 104 above. 

206. The greatest thing about you. Probably an allusion to the enor- 
mous breeches then worn. 

218. Spay. The folios have "splay," which some take to be an old 
form of the word. 



44 



XO PES. 



229. Day. The folios have " bay ;" corrected by Pope. Some retain 
" bay " because it was an architectural term for a division of a building ; 
but, as W. asks, " threepence a bay for how long ?" After=zt the rate of. 

235. Shrewd. Mischievous, evil. See J. C. p. 145, or Hen. VIII. p. 202. 

239. But I shall follozv it, etc. St. was the first to mark this as Aside. 

241. Jade. A common term for a worthless nag. See Hen. V. p. 170. 

247. Your readiness. The folios have "the " (or your (doubtless from 
confounding y T zndy e in the MS.) ; corrected by Pope. 

Though Elbow says seven year and Escalus seven years, it must not be 
supposed that the former is a vulgarism. Cf. Temp. i. 2. 53 : " Twelve 
year since, Miranda, twelve year since," etc. See Matzner, Eng. Gram. 
vol. i. pp. 230, 240. 

262. Eleven, sir. Harrison, in his Description of England (p. 166 of 
Mr. Furnivall's ed.), says : " With vs the nobilitie, gentrie, and students, 
doo ordinarilie go to dinner at eleuen before noone, and to supper at fiue, 
or betweene fiue and six at afternoone. The merchants dine and sup 
seldome before twelue at noone, and six at night especiallie in London. 
The husbandmen dine also at high noone as they call it, and sup at seuen 
or eight : but out of the tearme in our vniuersities the scholers dine at 
ten." 

Scene II. — 4. He hath but as offended, etc. " He hath only, as it were, 
offended in a dream " (D.). W. reads " offended but as ;" but the trans- 
position, if we regard it as such, is not more peculiar than others in 
Elizabethan English. See Gr. 422-427. 

15. Groaning. Cf. Rich. II. v. 2. 102 : 

" Hadst thou groan' d for him 
As I have done, thou wouldst be more pitiful." 

17. More fitter. For double comparatives and superlatives in S., see 
Gr. n. Pope reads "more fitting." 

19. Desires. For the ellipsis of the relative, see Gr. 244. 

25. Save your honour ! The Camb. ed. has " God save." Pope filled 
out the measure by changing/^;- V to " for it." 

28. Please. Kit please. The folio prints " 'Please." 

32. For which I must not plead, etc. Hanmer reads "must plead, 
albeit," and Johnson conjectures " must now plead, but yet." Malone 
paraphrases the passage thus: "for which I must not plead, but that 
there is a conflict in my breast betwixt my affection for my brother, which 
induces me to plead for him, and my regard to virtue, which forbids me 
to intercede for one guilty of such a crime ; and I find the former more 
powerful than the latter." 

35. Let it be his fault, etc. " Let his fault be condemned, or extirpated, 
but let not my brother himself suffer " (Malone). 

40. Fine the faults. Here fine evidently has the general sense of pun- 
ish, as in iii. 1. 114 below: " perdurably fin'd." So the noun here 
^punishment in general ; as in K. John, v. 4. 37 : 

" Paying the fine of rated treachery 
Even with a treacherous fine of all vour lives." 



ACT II. SCENE II. I45 

Stands in record. Is set down in the statute. S. accents the noun 
record on either syllable, as suits the measure. Cf. Sonn. 55. 8 with 123. 
11, etc. 

41. Severe. Accented on the first syllable because coming before the 
noun ; as in 1 Hen. VI. v. 4, 1 14 : " It shall be with such strict and se- 
vere covenants." On the other hand, see A. Y I. ii. 7. 155 : " With eyes 
severe and beard of formal cut," etc. See also on i. 3. 3 above. 

45. You are too cold. " It is noteworthy that Lucio twice reproaches 
Isabella with coldness ; and this is the impression that more than one 
critic has received and given of her character. But the restraint that 
sways her throughout this scene is just the powerful one which deceives 
imperfectly judging lookers-on into believing a woman of reticence to be 
a woman wanting in warmth. See how her upright soul— clear in virtu- 
ous perception, honest in righteous avowal — allows the justice of the case 
against her brother, though pleading against its severity: 'O just but 
severe law !' Then, again, consider the natural timidity and reluctance 
with which a young girl— a modest, pure girl, a girl who has voluntarily 
commenced her novitiate for the cloistered life of a nun — would enter 
upon such a subject as she has undertaken to plead for ; a subject hard 
even to speak of, most hard to advocate " (Clarke). 

53. But might you, etc. Walker conjectures " But you might." The 
Camb. ed. puts a period at the end of the sentence. 

54. Remorse. Pity; as very often. Cf. v. 1. 100 below; and see also 
Macb. p. 171. 

58. Back again. The 1st folio omits back, which the 2d supplies. 
Hanmer changes Well to " and." Well believe this—" be thoroughly as- 
sured of this " (Theo.). 

59. longs. Belongs ; but not a contraction of that word. See Schmidt 
or Wb. 

On the passage, see p. 21 above. 

73. That were. Warb. reads " that are." 

76. Top. The Coll. MS. has " God." Cf. Temp. iii. 1. 38 : " the top of 
admiration," etc. It has been pointed out that Dante uses the same ex- 
pression, " Cima di giudicio." 

79. Like man nezv made. " In familiar speech, « You would be quite 
another man ' " (Johnson). Malone explained it thus : " You will then 
appear as tender-hearted and merciful as the first man was in his days 
ot innocence, immediately after his creation ;" and Holt White thought 
it meant: "And you, Angelo, will breathe new life into Claudio, as the 
Creator animated Adam, by breathing into his nostrils the breath of life." 

80. Condemn. Changed by Rowe to " condemns." 

85. Of season. When it is in season. Steevens compares M. W. iii. 
3. 169 : " I warrant you, buck ; and of the season too, it shall appear." 

90. The law hath not been dead, etc. As Holt White remarks, " Dor- 
miunt ahquando leges, moriuntur nunquam" is a maxim in law. 

92. If the first, etc. The folio reading, retained by the Camb. editors, 
Clarke, and K. Pope reads " the first man," Capell " he, the first," the 
Coll. MS. " the first one," and W. " but the first." 

Edict is accented by S. on either syllable, according to the measure. 

K 



146 



NOTES. 



95. Looks in a glass. Alluding to the magic mirrors used by conjurers 
and fortune-tellers. Cf. Macb. iv. I. 119. 

98. Successive. Here accented on the first syllable. Cf. successors in 
Hen. VIII. i. I. 60. Gr. 492. 

99. Ere. The folio has " here ;" corrected by Hanmer. Malone reads 
" where." 

107. And he that suffers. That is, the first that suffers. 

109. Like a giant. Alluding to the savage conduct of giants in ancient 
romances (Steevens). 

112. Pelting. Paltry ; as in M. N. D. ii. 1. 91 : "every pelting river," 
etc. 

116. SpliC st. The folio has "splits," a euphonic contraction found 
elsewhere in second persons ending in -test. See on iii. 1. 20 below. Gr. 
340. 

119. Most assured. For the ellipsis of the of, cf. i. 4. 27 and ii. I. 15 
above. Gr. 394. 

120. Glassy essence. " That essential nature of man which is like glass 
from its faculty to reflect the image of others in its own, and from its 
fragility, its liability to injury or destruction " (Clarke). 

122. With our spleens. If they had our human spleens, they would 
laugh away their immortal natures, and become mortal like us. The 
spleen was thought to be the seat of sudden and uncontrollable fits of 
mirth, as of melancholy or anger. 

126. We cannot weigh our brother, etc. " We mortals, proud and fool- 
ish, cannot prevail on our passions to weigh or compare our brother, a 
being of like nature and like frailty, with ourself. We have different 
names and different judgments for the same faults committed by persons 
of different condition " (Johnson). The Coll. MS. has "You" for We, 
and Theo. "yourself" for ourself ; but Isabella is speaking in a general 
way. 

132. Avis'd. Advised, or aware. Cf. M. W. i. 1. 169 : " Be avised, 
sir " (that is, listen to reason) ; and Id. i. 4. 106 : " Are you avised o' 
that ?" J. H. says : " Lucio means, does Angelo bear that in mind ?" but 
the expression is probably an indirect compliment to Isabella, like the 
preceding speeches of Lucio aside to her. It was a common phrase of 
the time, and=you may be sure of that. 

136. That skins the vice, etc. Steevens compares Ham. iii. 4. 147 : " It 
will but skin and film the ulcerous place." S. uses the verb skin only in 
these two passages. 

142. Breeds. Changed by Pope to " bleeds ;" but the meaning is " My 
sense breeds with her sense, that is, new thoughts are stirring in my mind, 
new conceptions are hatched in my imagination " (Johnson). Douce ex- 
plains it thus : " Her arguments are enforced with so much good sense 
as to increase that stock of sense which I already possess." 

149. Fond. The word often means foolish (cf. v. 1. 105 below), and 
here is = " foolishly overprized" (Clarke). 

Shekels is printed "sickles" in the folios, as in some of the ancient 
versions of the Bible. The Coll. MS. has " circles," and Coll. conjectures 
" cycles." 



ACT II. SCENE III. I47 

153. Preserved. " That is, preserved from the corruption of the world " 
(Warb.). The good bishop adds that "the metaphor is taken from fruits 
preserved in sugar ;" but as Boswell says, " surely our author had « no 
such stuff in his thoughts.' " 

154. Dedicate. For the form, cf. 2 Hen. VI. v. 2. 2,7 '■ " He that is truly 
dedicate to war," etc. 

159. Where prayers cross. Johnson complained that he could not 
understand this ; but the meaning seems to be that the prayer or desire 
of his heart (to seduce Isabella) crosses or conflicts with hers that his 
honour (the word suggests that sense to his mind) may be safe. This is 
evident from what he says in reply to her repetition of Save your honour I 
just below. Henley explains the passage thus : "The petition, ' Lead us 
not into temptation,' is here considered as crossing or intercepting the 
onward way in which Angelo was going; this appointment of his for the 
morrow's meeting being a premeditated exposure of himself to tempta- 
tion, which it was the general object of prayer to thwart." 

163. Ha! Omitted by Pope. Some editors make it a line by itself. 

164. // is I, etc. " I am not corrupted by her, but my own heart, 
which excites foul desires under the same benign influences that exalt 
her purity, as the carrion grows putrid by those beams which increase 
the fragrance of the violet" (Johnson). With virtuous season — with the 
sweet influences of summer and sunshine. 

171. Evils. Privies ; as in Hen. VIII. ii. 1.67 : " Nor build their evils 
on the graves of great men." Henley compares 2 Kings, x. 27, and adds : 
"The desecration of edifices devoted to religion, by converting them to 
the most abject purposes of nature, was an Eastern method of expressing 
contempt." The Coll. MS. reads " offals." 

185. Ever. The later folios have "Even." Pope fills out the meas- 
ure by reading "Even till this very now," and the Coll. MS. by "Even 
from youth till now." 

186. Fond. Foolishly doting. When the word in S. expresses fond- 
ness in the modern sense, it generally carries the idea of folly (see on 149 
above) with it. Cf. i. 3. 23 above ; and see also M. N. D. p. 163, note on 
Fond pageant. 

Scene III. — 4. Spirits in prison. There is an allusion to 1 Peter, iii. 
19. 

10. Of mine. He calls her so because she had been placed in his 
care. Cf. ii. 2. 23 fol. above. 

11. Flames. The folios have "flawes" or "flaws ;" but it is probably 
a misprint for flames, which Davenant substituted. Cf. Ham. iii. 4. 83 : 

"To flaming youth let virtue be as wax, 
And melt in her own fire." 

26. Offenceful. The 1st folio misprints "offence full." 

30. Lest. The reading of the 4th folio ; the earlier folios have "least," 
which Coll. and V. retain. 

31. As that. For the reason that, because that. Tyrwhitt puts it thus : 
"lest you repent (not so much of your fault, as it is an evil) as that, etc." 



148 NOTES. 

33. Spare heaven. " That is, spare to offend heaven " (Malone). Pope 
reads " seek heaven," and the Coll. MS. " serve heaven." Sr. conjectures 
" appease heaven." 

36. There rest. "Keep yourself in this temper " (Johnson). 

39. Grace go with you! D. gives these words to Juliet (Ritson's con- 
jecture). 

40. Law. The folios have " loue ;" corrected by Hanmer. " Neither 
her love nor its consequences had any effect upon her life ; but the law 
in question, declaring, as we learn in the old tale on which the play is 
founded, that the man who broke it ' should lose his head, and the woman 
offender should ever after be infamously noted,' thus did respite her 'a 
life whose very comfort ' was 'a dying horror' " (W.). Some editors re- 
tain "love," and Toilet explains the passage thus with that reading: "O 
love, that is injurious in expediting Claudio's death, and that respites me 
a life which is a burden to me worse than death !" 

Scene IV.— 1. On the passage, cf. Ham. iii. 3. 38 fol. 

2. Several. Separate, different ; as in Temp. iii. 1. 42, M. W. iii. 5. no, 
etc. 

3. Invention. Imagination, or " mental activity in general " (Schmidt)- 
Cf. Much Ado, pp. 156, 167. Pope changed the word to "intention." 

4. Anchors on Isabel. For the figure, cf. Cymb. v. 5. 393 : " Posthumus 
anchors upon Imogen." 

9. Sear'd. Coll. says that Lord Ellesmere's copy of the 1st folio has 
scard, not " fear'd," which is the reading of other copies. The misprint 
seems to have been corrected while the book was being printed. Heath 
conjectured "sear." 

11. With boot. Giving something to boot ; as in Lear, v. 3. 301, etc. 

12. For vain. Idly, to no purpose. 

13. Case. Covering, outward garb. Cf. L. C. 116: " Accomplish'd in 
himself, not in his case." 

15. Thou art blood. Pope, for the sake of the measure, reads "thou 
art but blood," and Malone "thou art still blood." 

16. Good angel. Mr. Crosby suggests that Angelo here plays upon 
his own name. The meaning, of course, is : Though we may write 
good angel on the devil's horn, it is not his proper crest. Hanmer, not 
seeing this, made it read " Is 't not," and Johnson conjectured " 'T is 
yet." 

27. The general. The multitude, the populace. Cf. Ham. ii. 2. 457 : 
"caviare to the general." See also J. C. p. 142. Some of the editors 
have been in doubt whether general or subject is the noun here. On the 
passage, see p. 10 above. 

28. Fondness. See on ii. 2. 186 above. The Coll. MS. has "path" 
for part. 

43. That hath from fiature stolen, etc. That is, that hath deprived of 
life, or murdered. 

45. Saucy sweetness. Impudent self-indulgence. Hanmer changes 
sweetness to "lewdness." Cf. sweet tincleanuess just below. 

47. Falsely to take away, etc. " Falsely is the same with dishonestly ' 



ACT II. SCENE IV. I49 

illegally ; so false in the next line but one is illegal, illegitimate" (John- 
son). On the use of saucy in S., see Cymb. p. 179. 

48. Restrained. Forbidden. Means has been suspected. Steevens 
conjectures " mints," and Malone " moulds." 

56. Give my body. That is, to death. 

57. CompelPd. Accented on the first syllable because preceding the 
noun. See on i. 3. 3 above. 

Malone paraphrases the passage thus : "Actions to which we are com- 
pelled, however numerous, are not imputed to us by heaven as crimes. 
If you cannot save your brother but by the loss of your chastity, it is not 
a voluntary but compelled sin, for which you cannot be accountable ;" or, 
more simply, these compelled sins may be counted as sins, but are not to 
be accounted for as such. 

58. How say you? What do you say? Cf. v. I. 273 below: "Say 
you?" 

73. Nothing of your answer. Nothing that you must answer for. 

75. Craftily. The folios have " crafty ;" corrected by Rowe (after 
Davenant). 

76. Me. Omitted in the 1st folio, but supplied in the 2d. 

79. Tax. Accuse, reproach. Cf. A. Y. L. p. 164. 

These black masks. That is, the masks now generally worn. Cf. R. 
and J. i. I. 236: 

"These happy masks that kiss fair ladies' brows. 
Being black, put us in mind they hide the fair." 

80. Enshield. Enshielded, enclosed. For the form, see Gr. 342. 

82. Received. Taken, understood. Cf. T.N. iii. 1. 131 ; "one of your 
receiving " (that is, understanding). 

86. Pain. Penalty, punishment; as in the phrase "on pain of death," 
etc. 

89. As I subscribe not that, etc. Though T admit not that nor any oth- 
er except for the sake of argument. The as is what Dr. Ingleby {S. the 
Man and the Book, Part I. p. 145) aptly calls " the conjunction of reminder, 
being employed by S. and his contemporaries to introduce a subsidiary 
statement, qualifying, or even contradicting, what goes before, which the 
person addressed is required to take for granted." Cf. A. and C. p. 180, 
note on Patch a quarrel. 

Schmidt makes in the loss ofquestion = (l as no better arguments present 
themselves to my mind, to make the point clear ;" and J. H. explains it 
" without disowning the right of calling him to answer for his crime." 
W. points the passage thus : 

"Admit no other way to save his life, 
(As I subscribe not that nor any other) 
But — in the loss of question — that you," etc. 

He thinks that " the but must not be shut out of the direct construction." 
Of course it is grammatically required in that construction ; but the ir- 
regularity with our pointing is not unlike what we often find in S. when 
the construction is broken by a parenthesis. Cf. Gr. 415. 

94. All-holding. The folios have "all-building," which Schmidt ex- 



i5o 



NOTES. 



plains as "being the ground and foundation of all." The emendation is 
due to Rowe. Johnson reads "all-binding." 

95. Mean. S. often uses the singular, though oftener the plural. Cf. 
R.a7id J. p. 189. 

97. To let. Hanmer omits to. Cf. Gr. 350. 

103. That longing I Vt- been, etc. The folio reads " That longing haue 
bin sicke for," etc. The emendation in the text is Rowe's. Capell reads 
"I have," K. "had," and D. "long I had." Delius considers the folio 
reading an instance of the ellipsis of the nominative. Cf. Gr. 401. 

in. Ignomy. "Ignominy" (the reading of the later folios). Ignomy 
is found in the folio in I Hen. IV. v. 4. 100 and T. and C. v. 10. 33. See 
I Hen. IV. p. 202. In the present passage ignominy perhaps suits the 
measure better, though the line would be a lame one even then. 

Malone remarks that Davenant's alteration of the passage may prove 
a reasonably good comment on it : 

" Ignoble ransom no proportion bears 
To pardon freely given." 

122. If not a fedary, etc. " If he has not one associate in his crime, 
if no other person own and follow the same criminal courses which you 
are now pursuing " (Malone). For fedary = accomplice, see Cytnb. p. 188. 
The word (spelt " feodary " in the later folios) signifies originally a feudal 
vassal, and Clarke thinks that it here combines that sense with the other, 
meaning " one who holds by common tenure, and one of the human fra- 
ternity." He paraphrases the passage thus : " Unless we are all frail, 
let my brother die ; if he do not, as one of his human brethren, holding 
by their common tenure (but simply as he himself alone) possess and 
succeed to the inheritance of that weakness which you allow is yours as 
well as all men's." On the whole, this is to be preferred to Malone's 
exegesis. J. H. puts it more concisely thus : "Otherwise, let my brother 
die, if instead of being a mere vassal like other men he alone has frailty 
for his inheritance." Some change thy to " this." 

127. Men their creation mar, etc. Men spoil women by taking advan- 
tage of their weakness ; Steevens accepts an explanation given in the 
Edin. Rev. Nov. 1786: "men debase their nature by taking advantage 
of such weak pitiful creatures." Clarke combines the two interpreta- 
tions : "men impair their own natures and injure women by taking ad- 
vantage of them." Schmidt says : " men spoil women by that which 
these learn from them." He gives as parallel uses of profit by (=be in- 
structed by, learn from) A. Y. L. iv. 3. 84 and T. and C v. 1. 16 ; but in 
both the expression may as well have its ordinary meaning. 

130. Credulous to false prints. " That is, take any impression " (Warb.). 
Malone compares T. N. ii. 2. 31 : 

" How easy is it for the proper false 
In women's waxen hearts to set their forms!" 

139. I have 110 tongue but one, etc. "Isabella answers to his circum- 
locutory courtship that she has but one tongue, she does not understand 
this new phrase, and desires him to talk his former language, that is, to 
talk as he talked before " (Johnson). Clarke remarks : " The poet's con- 



ACT III. SCENE I. 151 

duct of this difficult scene is a marvel of skill, and proves his insight into 
womanly nature to be little short of miraculous." 

145. I know y oar virtue, etc. "I know your virtue assumes an air of 
licentiousness which is not natural to you, on purpose to try me " (Edin. 
Rev. Nov. 1786); or "in order to draw me on to confess the like" 
(Clarke). 

150. Seeming, seeming! "Hypocrisy, hypocrisy; counterfeit virtue" 
(Johnson). 

153. Aloud. Pope carried the word to the next line, and some editors 
omit it. 

156. My vouch against you. My assertion to the contrary, my denial 
of your charge. 

159. Smell of calumny. Steevens sees here "a metaphor from a lamp 
or candle extinguished in its own grease !" 

160. Race. " Natural disposition " (Schmidt) ; as in Temp. i. 2. 358 : 

"thy vile race, 
Though thou didst learn, had that in 't which good natures 
Could not abide to be with." 

Heath misinterprets the passage thus: "And now I give my senses the 
rein in the race they are now actually running." 

162. Prolixious blushes. "What Milton [P. L. iv. 311] has called 
'sweet, reluctant, amorous delay ' " (Steevens). 

165. Die the death. Elsewhere used of a judicial sentence. See M. N. 
D. p. 126, and cf. Matt. xv. 4. 

168. Affection. Impulse, feeling. 

172. Perilous. Theo. reads "most perilous." Seymour conjectures 
" these perilous," and Walker " pernicious." 

178. Prompture. Prompting, incitement ; used by S. only here. For 
blood, cf. ii. 1. 12 above. 

179. Mind of honour. Honourable mind. Steevens compares " mind 
of love "= loving mind, in M. of V. ii. 8. 42. 



ACT III. 

Scene I. — 5. Be absolute for death. Make up your mind fully for 
death. 

10. That dost, etc. The reading of the folios, changed by Hanmer to 
"That do." Even if that refers to influences, the irregularity would be 
not unlike many others in S. ; but possibly Porson was right in making 
breath the antecedent. W. says that to "make the breath hourly afflict 
its habitation" is "an absurd result." An asthmatic might not admit 
this, but all that the duke means is that life itself may become a burden 
from being at the mercy of the skyey influences. Indeed, is not this the 
meaning with either construction ? In the one case the breath is an af- 
fliction because servile to the skyey influences ; in the other, it is servile 
to these influences that afflict it. 



152 NOTES. 

W. suggests that we should read influence both here and in W. T. ?. 2. 
426, as the rhythm seems to require ; "for influence was then a word 
without a plural, and was used, especially when applied to the heavenly 
bodies (to which service it was then almost set apart) in its radical sense 
of in-flowing, and then in the singular form, even when all those bodies 
are spoken of." Cf. Milton, P. L. viii. 512, x. 663, Comus, 330, 335, etc. 
Bacon, however, has the plural in Essay 9: "the evill Influences of the 
Starrs." See also Job, xxxviii. 31. 

Keefst. Dwellest ; as in i. 3. 10 above. Cf. Ham. p. 199. 

II. Death's fool. In the ancient "dumb-shows" Death and the Fool 
were common characters. The latter is made to employ all his tricks in 
trying to escape from the former, but finally runs into his clutches. 

15. Are nurs'dby baseness. " Whatever grandeur can display or luxury 
enjoy is procured by baseness, by offices of which the mind shrinks from 
the contemplation. All the delicacies of the table may be traced back 
to the shambles and the dunghill, all magnificence of building was hewn 
from the quarry, and all the pomp of ornament dug from among the 
damps and darkness of the mine " (Johnson). Cf. A. and C.\.\. 35 and 
v. 2. 7. 

17. Worm. Serpent ; as in A. and C. v. 2. 243, 256, etc. For the old 
notion that the serpent wounds with its forked tongue, cf. M. JV. D. iii. 2. 
72: 

" An adder did it ; for with doubler tongue 
Than thine, thou serpent, never adder stung." 

K. thinks that the worm of the grave is meant in the present passage. 

18. Provok'st. Dost invoke, or seek. Cf. Lear, iv. 4. 13: "that to 
provoke in him" (referring to sleep). 

19. Death, which is no more. Johnson remarks: "I cannot without 
indignation find S. saying that death is only sleep, lengthening out his ex- 
hortation by a sentence which in the friar is impious, in the reasoner is 
foolish, and in the poet trite and vulgar." But, as Malone replies, the 
poet means only " that the passage from this life to another is easy as 
sleep ; a position in which there is surely neither folly nor impiety." 

20. Exisfst. The folio has "exists," for which see on ii. 2. 116 above. 

24. Effects. Expressions. Johnson wanted to read "affects " (—"af- 
fections, passions of mind "). It is not necessary, however, to refer com- 
plexion to the mind, as he and some other critics do ; it may mean the 
face as expressive of the shifting emotions within. Cf. W. T. i. 2. 381 : 
"Your chang'd complexions are to me a mirror," etc. 

29. Sire. The reading of the 4th folio ; the earlier folios have "fire." 
31. Serpigo. A cutaneous eruption; mentioned again in T. and C. ii. 
3. 81. Here the 1st folio has "sapego," the other folios "sarpego." 

34. Dreaming on both. "This is exquisitely imagined. When we are 
young, we busy ourselves in forming schemes for succeeding time, and 
miss the gratifications that are before us ; when we are old, we amuse 
the languor of age with the recollection of youthful pleasures or perform- 
ances: so that our life, of which no part is filled with the business of the 
present time, resembles our dreams after dinner, when the events of the 
morning are mingled with the designs of the evening" (Johnson). 



ACT III. SCENE I. I53 

For blessed Johnson conjectured "blasted," and the Coll. MS. has 
" boasted." 

35. Becomes as aged, etc. This has been suspected, not without reason, 
and sundry attempts at emendation have been made: "becomes an in- 
digent" (Hanmer); "becomes assuaged" (Warb.); "becomes engaged" 
(the conjecture of St.) ; " becomes enaged " (that of W.) ; " becomes 
abased" (that of the Camb. editors), etc. Clarke explains the old text 
thus : " becomes as if it were aged, carkingly coveting those things that 
belong to old people — such as riches, experience, etc." J. H. paraphrases 
it thus: "Thy youth devotes all its freshness, vigour, etc., to make pro- 
vision for old age ; as if old age were present in youth and then craving 
sustenance." 

36. Eld. Cf. M. W. iv. 4. 36: " The superstitious, idle-headed eld." In 
T.and C. ii. 2. 104, the modern reading is "Virgins and boys, mid-age 
and wrinkled eld ;" but the folios have " old " and the quarto " elders." 

40. Moe thousand deaths. A thousand more deaths. For moe, cf. A. 
Y.L. p. 176. 

46. Sir. Mason thinks this " too courtly " for the friar, who elsewhere 
addresses Claudio and Isabella as son and daughter, and conjectures that 
we should read "son." 

52. Bring vie, etc. The 1st folio reads " Bring them to hear me speak," 
and the later folios "Bring them to speak." The emendation was sug- 
gested by Steevens. 

58. Lieger. A resident ambassador. Cf. Cymb. p. 174. The editors 
generally follow the folio in spelling the word " leiger." Capell has 
"ledger." Steevens quotes Leicester's Commonwealth : "a special man 
of that hasty king, who was his ledger, or agent, in London." Wb. gives 
lieger and leger. 

59. Appointment. Equipment, preparation. Cf. Ham. p. 253. 

67. Ay, just. Cf. v. 1. 200 below. See also Much Ado, ii. 1. 29, v. I. 
164, etc. 

68. Vastidity. Vastness, immensity; used by S. only here. The folios 
have " Through " for Though ; corrected by Pope. 

69. To a determined scope. "A confinement of your mind to one pain- 
ful idea — to ignominy of which the remembrance can neither be sup- 
pressed nor escaped" (Johnson). 

74. Entertain. Desire to maintain. 

78. And the poor beetle, etc. "That is, fear is the principal sensation 
in death, which has no pain; and the giant, when he dies, feels no greater 
pain than the beetle " (Douce). 

79. Sufferance. Suffering ; as in 2 Hen. IV. v. 4. 28, Cor. i. 1. 22, Lear, 
iii. 6. 113, etc. 

81. Think you I can, etc. The meaning is not clear, though the editors 
generally pass the question without comment. We are inclined to think 
that Schmidt is right in making from plowery tendemess=" from a tender 
woman, ' whose action is no stronger than a flower ' (Sonn. 65. 4)." 
Clarke understands that " Claudio asks his sister whether she thinks he 
can derive courage from a figurative illustration — that of the ' poor bee- 
tle.'" H. is doubtful about the meaning, but thinks it may be " Do you 



154 NOTES. 

think me so effeminate in soul as to be capable of an unmanly resolution ? 
or, such a milksop as to quail and collapse at the prospect of death ?" 
Heath would make the sentence imperative, and = " Do me the justice to 
think that I am able to draw a resolution even from this tenderness of 
youth, which is commonly found to be less easily reconciled to so sudden 
and harsh a fate ;" but we cannot imagine Claudio applying the expres- 
sion flowery tenderness to himself. It seems to be used with a touch of 
contempt for the weak girl who thinks that he needs to be nerved up to 
resolution in the face of death, and that she can inspire him with it. 

87. Conserve. Preserve. The only other instance of the word in S. is 
in Oth. iii. 4. 75 ; "Conserv'd of maidens' hearts ;" where, by the way, 
Schmidt would read " with the skilful Conserves," etc. 

90. Follies doth emmew. " Forces follies to lie in cover, without dar- 
ing to show themselves " (Johnson). Steevens compares 3 Hen. VI. L 

* 45 * " Neither the king nor he that loves him best, 

The proudest he that holds up Lancaster, 
Dares stir a wing, if Warwick shake his bells." 

Cf. R. of L. 511 : "With trembling fear, as fowl hear falcon's bells." 
Emmew is — mew (see M. N. D. p. 126) or mew up (Rich. III. p. 181). 
A writer in the Edin. Rev. Oct. 1872, proposes "enew" (a term in 
aquatic falconry, meaning to drive the fowl back to the water as a refuge 
from the hawk), and H. adopts that reading. J. H. says that "a hawk 
was said to emmew a bird when hovering over and wheeling round it, 
preparatory to seizure." If he has good authority for this use of the 
word, no emendation is called for. 

93. Priestly. The 1st folio has " prenzie," both here and in 96 below; 
and attempts have been made to explain that word : by comparison with 
the Scottish primsie ( — demure, precise), by connecting it with the old 
Fr. prin ( = demure), etc. It has not, however, been proved to be English, 
and is pretty clearly a misprint for priestly (Hanmer's emendation)^ or 
some other word. The 2d folio has " princely," K. " precise " (the con- 
jecture of Tieck), and St. " rev'rend." " Saintly," " pensive," " primsie," 
etc., have also been proposed. W. and H. adopt priestly. 

96. Guards. Literally = facings, or trimmings (see Much Ado, p. 124), 
and hence applied to outward appearances. Cf. the use of the verb in 
M.O/V.U. 2. 164: -Give him a livery 

More guarded than his fellows','' etc. 

99. He would give V thee, etc. He would allow thee, in consequence 
of this offence of mine, to go on offending in this way forever. For still 
= ever, cf. iv. 2. 129, v. 1. 406, 467 below. Gr. 69. Hanmer changesyrcw/ 
to "for." 

107. Has he affections, etc. " Is he actuated by passions that impel 
him to transgress the law, at the very moment that he is enforcing it 
against others ?" (Malone) To bite the law by the nose is rather to treat 
it with contempt. 

no. The deadly seven. These were pride, envy, wrath, sloth, covet- 
ousness, gluttony, and lechery (Douce). 

114. Per durably fin 'd. Everlastingly punished. We find perdurable in 



ACT III. SCENE I. 155 

Hen. V. iv. 5. 7 and Oth. i. 3. 343. For fn'd, cf. the use of the noun in ii. 
2. 40 above. 

120. Delighted. Accustomed to delight; as Warb. and Johnson ex- 
plained it. Cf. Gr. 375. ''Dilated," "delinquent," "benighted," "de- 
lated," etc., have been proposed. 

122. Region. Changed by Rovve (followed by many editors) to "re- 
gions ;" but, as Dr. Ingleby contends, region is here " used as an abstract, 
and in the radical sense," and^" restricted place, or confinement." He 
adds that Carlyle appears so to have understood it ; for in his Heroes and 
Hero-Worship he paraphrases it as "imprisonment of thick-ribbed ice." 
So just below thought (for which Theo. reads " thoughts ".) is abstract and 
the object of imagine. Incertain — unsettled. Dr. Ingleby paraphrases 
the latter part of the passage thus : " or to be in an infinitely worse case 
than those who body forth — or render objective — their own lawless and 
distracted mind." 

124. And blown, etc. Cf. Oth. v. 2. 279 : " Blow me about in winds ! 
Roast me in sulphur !" 

133. What sin you do, etc. The following note is from V. : " ' One of 
the most dramatic passages in the present play (says Hazlitt, in his 
Characters of Shakespeare's Plays), is the interview between Claudio and 
his sister, when she comes to inform him of the conditions on which 
Angelo will spare his life. What adds to the dramatic beauty of the 
scene, and the effect of Claudio's passionate attachment to life, is that it 
immediately follows the duke's lecture to him, in the character of the 
friar, recommending an absolute indifference to it.' The attempt of 
Claudio to prove to his sister that the loss of her chastity, upon such an 
occasion, will be a virtue, is finely characteristic of the profound knowl- 
edge Shakespeare possessed of the intricate complexities of the human 
heart. ' Shakespeare was, in one sense, the least moral of all writers, 
(says Hazlitt) ; for morality (commonly so called) is made up of antip- 
athies ; and his talent consisted in sympathy with human nature, in all 
its shapes, degrees, depressions, and elevations. The object of the pe- 
dantic moralist is to find out the bad in every thing : his was to show 
that " there is some soul of goodness in things evil." ' With reference 
to the representation of such scenes on the stage, Schlegel observes : 
'It is certainly to be wished that decency should be observed on all 
public occasions, and consequently also on the stage ; but even in this 
it is possible to go too far. That censorious spirit, which scents out im- 
purity in every sally of a bold and vivacious description, is at best but 
an ambiguous criterion of purity of morals ; and there is frequently con- 
cealed under this hypocrisy the consciousness of an impure imagination. 
The determination to tolerate nothing which has the least reference to 
the sensual relation between the two sexes may be carried to a pitch 
extremely oppressive to a dramatic poet, and injurious to the boldness 
and freedom of his composition. If considerations of such a nature 
were to be attended to, many of the happiest parts of the plays of Shake- 
peare — for example, in Measure for Measure and All 's Well that Ends 
Well — which are handled with a due regard to decency, must be set 
aside for their impropriety.' " 



156 NOTES. 

134. Dispenses with. Excuses, pardons. See C. of E. p. 1 17, note on 
Can with such wrongs dispense. 

140. Heaven shield my mother play 'd my father fair ! " God grant that 
thou wert not my father's true son !" (Schmidt). Cf. R. and J. iv. 1. 41 : 
"God shield I should disturb devotion !" See also A. W. i. 3. 174. 

141. Wilderness. Wildness. Slip of wilderness = wild slip. Steevens 
quotes Old Fortunatus, 1600 : " But I in wilderness totter'd out my 
youth," etc. 

142. Defiance. Indignant refusal. Cf. defy= refuse, spurn; as in K. 
John, iii. 4. 23 : " No, I defy all counsel, all redress," etc. 

148. A trade. " A custom, a practice, an established habit " (Johnson). 

160. Assay. Trial, test. 

165. Do not satisfy, etc. "Do not feed your resolution — or sustain 
your courage — with hopes that are groundless" (Clarke). Schmidt 
paraphrases it thus : " Do not set yourself at ease, do not gratify your- 
self, who were just now resolved to die, with false hopes." Hanmer 
changes satisfy to " falsify," and H. to " qualify " ( = abate, weaken). 

170. Hold you there. "There rest" (ii. 3. 36 above), remain in that 
frame of mind. 

176. I?i good time. "A la bonne heure, so be it, very well " (Steevens). 

178. The goodness that is cheap, etc. " The goodness which, when as- 
sociated with beauty, is held cheap, does not remain long so associated ; 
but grace, being the very life of your features, must continue to preserve 
their beauty" (V.). 

183. Hoiv will you, etc. The Var. of 1821 has " would " for will ; not 
noted in the Camb. ed. 

185. Resolve. Inform, answer. Cf. Rich. III. p. 224. 

189. Discover. Uncover, expose; as in Lear, ii. 1. 68: "I threaten'd 
to discover him," etc. 

191. He made trial of you only. That is, he will say so. 

194. Uprighteously. " Uprightly " (Pope's reading), righteously ; used 
by S. only here. 

203. Miscarried. Was lost. Cf. M. of V. ii. 8. 29 : "there miscarried 
a vessel of our country;" Id. iii. 2. 318 : "my ships have all miscarried," 
etc. 

206. She should this Angelo, etc. Pope " corrected " she to " her." Cf. 
Gr. in. 

207. By oath. The 1st folio omits by, which the 2d supplies. 
Nuptial. The plural is not found in the 1st folio. It occurs in the 

later folios in Temp. v. 1. 308, M. N. D. i. 1. 125, v. 1. 75 ; and in the 
quartos in Oth. ii. 2. 8. Cf. Temp. p. 143. 

208. Limit. "Appointed time" (Malone). 

209. Wracked. The only form in the early eds. Cf. C. of E. p. 144, 
note on Wrack of sea. 

214. Combinate. Contracted, betrothed ; the only instance of the word 
in S. J 

219. In few. In short. See on i. 4. 39 above. 

Bestowed her on her own lamentation. " Left her to her sorrows " 
(Malone). 



ACT III. SCENE II. .157 

221. Tears. The later folios misprint " ears." 

234. Refer yourself to. " Have recourse to, betake yourself to (Stee- 

Ve 239*. Stead up your appointment. That is, keep it in your stead. We 
have already had the verb in i. 4. 17 above. . 

243 /*/«/• The early eds. have " scaled," which has been explained 
as = " weighed," and by others as = " stripped "or "unmasked. We 
have little hesitation in accepting White's emendation oi foiled. 

252. Grange. A solitary farm-house. Cf. Oth. 1. 1. 106: 

"What tell'st thou me of robbing? This is Venice ; 
My house is not a grange." 

Scene II.— 3- Bastard. A kind of sweet wine. Cf. 1 Hen. IV. ii. 4. 
-10: "a pint of bastard," etc. 

c Usuries. The Coll. MS. has "usances. 

8 /fce <m<**/a»^ **««*. Capell reads simply " fox-skins, and Mason 
conjectures " fox on lamb-skins." Clarke remarks : " The passage seems 
to us to imply, furred (that is, lined with lamb-skin fur inside and trimmed 
with fox-Tkiti fur outside) with both kinds of fur, to show that craft (fox- 
skin), being richer than innocency (lamb-skin) is used for the decoration. 

11 Brother father. As friar = frere, or brother, the duke returns 
Elbow's blundering address with one in the same vein. Tyrwhitt re- 
marks that the joke would be clearer in French: "Dieu vous benisse, 
mon pere frere.— Et vous aussi, mon frere pere. 

2- Eat array. The folios have " eat away f corrected by Theo. (the 

C T^£/^t^^, etc. The tst folio reads: "From our faults, 
as faults from seeming free."* The 2d folio has " Free from our faults 
etc., and Hanmer corrects the latter part of the line as in the text. 1 his 
restores both rhythm and sense to the line. 

•27 Will come to your waist— a cord sir. That is, will come to have a 
cord round it, as your waist has ; alluding to the hempen cord which the 
Franciscan friars wore as a girdle. 

a\ Is there none of Pygmalion's images, etc. Have you no women for 
your" customers as fresh and untouched as Pygmalion's statue was when 
it became a living woman ? . , 

46. Trot. A contemptuous epithet, applied in T. of S. 1. 2. 80 to an old 
woman. D. and H. adopt Grey's conjecture of " to 't, ' but as the word 
in the folio begins with a capital it is not likely to be a misprint for 
» to 't." Besides, as W. remarks, there could be no more appropriate 
name for a bawd's assistant. 

C2. /« ^ /«£. Alluding to the " powdenng-tub or "sweating-tub 
which was a part of the current treatment for the French disease. Cf. 
Hen. V. ii. I. 7Q : " the powdering-tub of infamy," etc. 

54. Unshwmed. " Unshunhable » \Oth. \\x. 3. 275), inevitable ; used by 
S. nowhere else. 

• W says that the line in the folio is "without an initial capital," but the capital ap- 
pears both in Staunton's photolithographic facsimile and Booth s reprint. 



158 NOTES. 

63. Husband. Alluding to the received etymology of the word — house- 
band. Cf. Wb. 

66. Not the wear. Not the fashion. Cf. A. Y. L. ii. 7. 34 : " Motley 's 
the only wear," etc. 

72. Come your tvays. Used some dozen times by S. Come your way 
occurs only in 10 above. So go your ways is more common than go yo ur 
zc/ay. 

93. Extirp. Used again in 1 Hen. VI. hi. 3. 24. Extirpate occurs only 
in Temp. i. 2. 125. 

108. Detected. Capell reads "detracted." V. remarks: " The use of 
this word, in the various extracts from old authors, collected by the com- 
mentators, shows that its old meaning was (not suspected, as some of 
them say, but) charged, arraigned, accused. Thus, in Green way's Tacitus 
(1622), the Roman senators, who informed against their kindred, are said 
• to have detected the dearest of their kindred.' " 

113. Use. Habit ; as in M. of V. iv. 1. 268, Ham. hi. 4. i63, etc. 

Clack-dish. A wooden dish used by beggars to collect alms in ; so 
called because they clacked the hinged cover to attract attention. Stee- 
vens quotes The Family of Love, 1608: "Can you think I get my living 
by a bell and a clack-dish ?" and a stage-direction in 2 Edw. IV. 1619: 
" Enter Mrs. Blague, very poorly, begging with her basket and a clap- 
dish." 

117. An inward. An intimate friend. Cf. Rich. III. hi. 4. 8 : "Who 
is most inward with the royal duke ?" 

Shy. Demure. Hanmer reads "sly," which may be right; but cf. v. 
I. 54, the only other instance of the word in S. 

122. File. Number, multitude; as in Cor. i. 6. 43: "the common 
file," etc. For subject, cf. v. 1. 14 below. See also Ham. i. 1. 72, i. 2. 33, 
etc. 

124. Unweighing. Inconsiderate, thoughtless. Cf. unweighed in M.W. 
ii. 1. 23 ; like this, the one instance of the word in S. 

126. Helmed. Conducted, managed; used by S. only here. The same 
is true of testimonied just below. 

134. Dearer. The folios have "deare" or "dear;" corrected by Han- 
mer. 

147. Unhurtful. Another word used by the poet only once. For op- 
posite = opponent, cf. T. N. iii. 2. 68 : " his opposite, the youth ;" and see 
Id. iii. 4. 253, 293, etc. 

153. Tun-dish. Tunnel, or funnel. 

154. Ungenitured. Schmidt makes the word = impotent; but perhaps 
it is explained by 95 above. 

159. Untrussing. Explained by Schmidt as "unpacking;" but more 
correctly, we think, by D. as " untying the points or tagged laces which 
attached the hose or breeches to the doublet." 

161. A T ot past it. The folios have "now past it;" corrected by Han- 
mer. 

166. Scape. Not a contraction of escape, being used in prose by Bacon 
and others. See Macb. p. 214, or Wb. s. v. 

173. Forfeit. Explained by Steevens as a verb ( = transgress, offend), 



ACT II 7. SCENE II. 159 

but perhaps an adjective ( = liable to penalty), as Schmidt makes it. Cf. 
ii. 2. 73 above. 

174. Swear. Hanmer reads " swerve. 

181. CVw** /%//*> ««<* 5^«*. That 1S > the feast of St - Phllip and st * 

Tames (Latin, Jacobus), or May 1st. „ C -» 

197. V/ww & ^- That is, from Rome. The folios have Sea ; 
corrected by Theo. . 

201. The dissolution of it. The death of goodness. The meaning. 
" Virtue has become so extreme that it must have a speedy end. I he 
reference is to the overstrained sanctity and zeal of Angelo" (V.). 

202. And it is as dangerous. The 1st and 2d folios have a superfluous 

as before it. , »,.»_.. & 

■"OS. Security enough, etc. Alluding to the trouble that a man often 
get's into by becoming security for a friend. Holt White quotes Prov. xi. 

I5 22i. Is he resolved to die. He has made up his mind for death. 

224. Your function. Your priestly duty. The Coll. MS. reads the 
due of your function." 

228. Indeed justice. That is, the very embodiment of justice pure and 
simple, with no mingling of mercy. Steevens sees a reference to the 
maxim " Summum jus, summa injuria." 

229. Straitness. Strictness; the only instance of the word in S. 

214 He who the sword, etc. We unhesitatingly agree with W. that 
these poor rhymes are not Shakespeare's, but the "tag" of some one 
connected with the theatre. "They are entirely superfluous, having no 
dramatic purpose, and uttering no moral truth that has not had infinitely 
better utterance before. Their rhythmical expression is entirely incon- 
sistent wilh their sentiment and with the diction of the serious parts of 
this play; it was not in Shakespeare to stop the Duke and set him off in 
this octosyllabic canter upon the same road over which he had paced be- 
fore with such severe and stately dignity. The lines are a mere succes- 
sion of couplets, each containing a perfect if not an isolated thought, 
which is not Shakespeare's manner under any circumstances and, above 
all, in such a soliloquy as the Duke's ; ' non color, non vultus. If we will, 
we must believe that this soliloquy was written by Shakespeare after 
those in Hamlet. Let who will believe it !" . 

216, 2-17. Pattern . . . go. The meaning seems to be : to be in him- 
self a pattern ; to have grace to stand firm, and virtue to go forward. 
The Coll. MS. reads "virtue to go." Clarke paraphrases the couplet 
thus : " Should be in himself a pattern whereby to know how grace 
oucrht to bear itself, and how virtue ought to proceed." 

241. My vice. It has been disputed whether my=" of my dukedom 
or is used indefinitely. We have no doubt that the latter is the meaning : 
to weed the vice of another, and let his own grow. 

246 Wade. The folios have "made," which, as Malone suggested, is 
probably a misprint for wade. Hanmer reads "that likeness shading 
crimes," and Heath conjectures "such likeness trade in crimes. The 
Coll. M S. has " Masking practice " for Making practice. The Var. ot I52I 
reads " Mocking, practise." 



160 NOTES. 

252. Despis'd. W. follows the folio in reading " despised " and " th' 
disguised." 



ACT IV. 

SCENE I. — I. Take, O, take those lips away, etc. In The Bloody Brother, 
by B. and F., this stanza appears with the addition of the- following : 

" Hide, O hide those hills of snow 

Which thy frozen bosom bears, 
On whose tops the pinks that grow 

Are of those that April wears ; 
But first set my poor heart free, 
Bound in those icy chains by thee." 

Both were printed in the spurious edition of Shakespeare's Poems, pub- 
lished in 1640 ; but probably the second is Fletcher's. W. remarks : 
" The two stanzas in fact will not make one song, except at great violence 
to both the form and spirit of the first. For that is written so that the 
music shall repeat the last three syllables of each of the last two lines, 
which is impossible with the other : they can both be sung to the same 
music only by suppressing the beautiful and touching repetition in the 
first ; and this was done when it was introduced in The Bloody Brother. 
Besides, the stanza added in that play is palpably addressed to a woman, 
while this is just as certainly and as clearly, though not just as palpably, 
addressed to a man. The command to the boy to break off his song is 
but a dramatic contrivance to procure the effect of an intrusion upon 
Mariana's solitude." It may be added that the second stanza is poetical- 
ly inferior to the first ; marred as it is by the conceit — quite in the taste 
of the time, to be sure — in the second couplet, and by "those icy chains," 
which makes a confusion of metaphors, to say nothing of the awkward 
repetition of those. We suspect, however, that Fletcher wrote "these icy 
chains." 

6. Seals of love, etc. Steevens compares Sontt. 142. 7 : 

"those lips of thine, 
That have profan'd their scarlet ornaments, 
And seal'd false bonds of love as oft as mine ;" 

and V. and A. 511 : " Pure lips, sweet seals in my soft lips imprinted." 

10. I cry you mercy. I beg your pardon. Cf. M. N. D. p. 159. 

13. My mirth, etc. " Though the music soothed my sorrows, it had no 
tendency to produce light merriment" (Johnson). 

18. Meet. Hanmer adds " one ;" but cf. M. W. ii. 3. 5 : " 'T is past the 
hour, sir, that Sir Hugh promised to meet ;" and A. Y. L.v. 2. 129: "as 
you love Phebe, meet ; and as I love no woman, I '11 meet." 

21. Constantly. Firmly. 

27. Circummur'd. Walled round ; used by S. only here. 

29. Blanched. Planked, made of boards. Steevens quotes Gorges, 
Lucan, 1614: " The planched floor," etc. We find also plancher— plank; 
as in Lyly, Maid^s Metamorphosis, 1600: " A hollow plancher," etc. 

33-35. There . . . him. The folio reads : 



ACT IV. SCENE II. 161 

"There haue I made my promise, vpon the 
Heauy midle of the night, to call vpon him." 

Various re-arrangements have been proposed, that in the text being 
Walker's conjecture, adopted by the Camb. editors, D., and H. D. says 
that it was recommended to him by Tennyson in 1844. Delius and St. 
print the passage as prose. 

Heavy seems here to be = drowsy, sleepy; as in Temp. i. 2. 189, 194, 
198, M. N. D. v. 1. 380, etc In Oth. v. 1. 42 " heavy night" probably 
means cloudy or gloomy night. See our ed. p. 205. 

39. Action all of precept. " Shewing the several turnings of the way 
with his hand" (Warb.). Johnson wanted to transpose action and pre- 
cept. 

41. Concerning her observance. Which it concerns her to observe. 
43. Possessed. Informed ; as in Much Ado, v. 1. 290, M. of V. i. 3. 65, 
etc. 

On my most stay, cf. 2 Hen. IV. iv. 1. 71 : " our most quiet," etc. 

46. Stays upon. Waits for. Cf. Macb. i. 3. 148 : " stay upon your 
leisure," etc. 

47. Borne up. Arranged, devised. 

60. Are stuck upon thee. Cf. A. W. v. 3. 45 : "I stuck my choice upon 
her," etc. 

61. Quests. Spyings. Contrarious here is=contradictory, or perhaps 
merely=diverse. S. uses the word elsewhere only in I Hen. IV. v. 1. 52: 
"contrarious winds." 

62. Escapes. Sallies; changed by Pope to "'scapes." 

63. Dreams. The folio has " dreame ;" corrected by Pope. 

64. Rack. Probably=strain, distort, misrepresent. Cf. racker in L. L. 
L. v. 1. 21 : " rackers of orthography." 

73. Sith. Since. See on i. 3. 35 above. 

74. Flourish. " Colour, varnish " (Schmidt), or grace. 

75. Tilth \r. The folios have " Tithes" or " Tythes," and the Camb. ed. 
reads " tithe 's." The emendation was suggested by Warb. and is gener- 
ally adopted. See on i. 4. 44 above. 

Scene II. — 6. Leave me your snatches. None of your attempts at 
catching me up ! For me, cf. i. 2. 156 and ii. 1. 114 above. 

10. Gyves. Fetters. 

12. Uupitied. " Unmerciful " (Steevens). 

21. Compound. Make an agreement. 

23. Estimation. Reputation. 

26. Mystery. Calling, trade. Cf. Oth. p. 199. 

30. A good favour you have. There is a play upon favour=face. See 
y. C. p. 131. Cf. Gen. xxix. 17, etc. 

40. True man's. Honest man's ; often opposed to thief. See Cymb. 
p. 182. 

41. If it be too little, etc. The folios give this to " Clo." or Pompey ; 
but Capell, followed by most of the editors, transfers it to Abhorson. W. 
gives the old arrangement without comment. Clarke explains it satis- 
factorily thus : " Abhorson states his proof that hanging is a mystery by 

L 



1 62 NOTES. 

saying 'Every true man's apparel fits your thief,' and the clown, taking 
the words out of his mouth, explains them after his own fashion, and ends 
by saying ' So (in this way, or thus) every true man's apparel fits your 
thief.' Moreover, the speech is much more in character with the clown's 
snip-snap style of chop-logic than with Abhorson's manner, which is re- 
markably curt and bluff." 

46. He doth oftener ask forgiveness. It was the custom for the execu- 
tioner to ask forgiveness of the criminal before fulfilling his office. Cf. 
A. Y. L. iii. 5. 3 : 

"The common executioner. 
Whose heart the accustom' cl sight of death makes hard, 
Falls not his axe upon the humbied neck 
But first begs pardon." 

53. Yare. Ready, apt. Cf. A. and C. iii. 13. 130 : 

"A halter'd neck which does the hangman thank 
For being yare about him.'' 

See also T. N. p. 154. 

62. Starkly. Stiffly, as if dead ; the only instance of the adverb in S. 
Cf. the adjective (used only of dead bodies) in 1 Hen. IV. v. 3. 42, R. and 
J. iv. I. 103, and Cyml>. iv. 2. 209. 

70. Curfew. S. transfers the English (and earlier Norman French) 
curfew bell to Vienna, as he does to Italy in R. and J. iv. 4. 4 (cf. Temp. 
v. 1. 40). 

71. They. Changed in the Coll. MS. to "There;" but the duke is ex- 
pecting both Isabella and the messenger with a reprieve. Cf. 80 below. 

75. Stroke. The metaphor, as Johnson notes, is taken from the stroke 
of a pen. 

78. Qualify. Abate, control. Cf. Ham. iv. 7. 114, Lear, i. 2. 176, etc. 

Meal'd. " Sprinkled, defiled " (Johnson). Blackstone made it — " min- 
gled, compounded" (Fr. meter). 

80. This being so. The case being as it is ; this referring, not to what 
immediately precedes, but to the former part of the speech. 

81. Seldom when. Some print "seldom-when ;" but this is unneces- 
sary, seldom when being = "'t is seldom when" (it is seldom that) in 2 
Hen. IV. iv. 4. 79. 

83. Spirit. Monosyllabic ; as often. Gr. 463. 

84. {Insisting. Explained by some as == unresting, but probably a mis- 
print. Rowe reads "unresisting," Hanmer "unresting," and Capell "un- 
shifting." Steevens conjectures " unlist'ning," Coll. " resisting," Sr. " un- 
wisting," etc. W. reads " unlisting," which was proposed by Mason, and 
is as good an emendation as any. If unsisting means " never at rest, al- 
ways opening" (the definition is due to Blackstone), the word seems out 
of place when the door is at rest. 

90. Happily. Haply ; as often in the early editions, but generally 
changed to haply in the modern ones when dissyllabic. See T.N. p. 158, 
or Gr. 42. 

93. Siege. Seat (Fr. siege). Cf. its use (=rank) in Ham. iv. 7. 77: "Of 
the unworthiest siege ;" and Oth. i. 2. 22 : " men of royal siege." 



ACT IV. SCENE III. 



163 



95. Lordship' 's. The folios have U lords ;" corrected by Pope. The 
error probably arose from the use of the contraction " Lord." for lordship. 
In T. of S. ind. 2. 2, the folio reads " Wilt please your Lord drink a cup 
of sacke?" 

96. And here comes, etc. The folios give this speech to "Pro." but it 
evidently belongs to the Duke, as Tyrvvhitt conjectured. 

105. His. Its. Gr. 217, 228. 

in. Putting-oii. Urging, incitement. Cf. Cor. ii. 3. 260 : "you ne'er 
had done 't . . . but by our putting on," etc. 

122. What is, etc. Who is, etc. Cf. 2 Hen. IV. i. 2. 66 : " What 's he 
that goes there ?" Gr. 254. 

125. Nine years old. Cf. Ham. iv. 6. 15: "Ere we were two days old 
at sea," etc. 

130. Fact. Deed, crime. See W. T. p. 175. 

137. Insensible of mortality and desperately mortal. " Insensible of his 
being subject to death, and desperate in his incurring of death" (Clarke). 
Schmidt, following Johnson, makes desperately mortal — " destined to die 
without hope of salvation." 

149. In the boldness of my cunning. " In the confidence of my sagac- 
ity " (Steevens). 

153. In a manifested effect. " That is, so that its being manifest may be 
the effect or result of my exposition" (Schmidt). 

158. limited. Appointed ; as in Macb. ii. 3. 56: "my limited service," 
etc. 

165. Discover the favour. Recognize the face. Cf. 30 above. 

168. Tie the beard. Tie has been changed to " dye " and " trim ;" but, 
as Clarke remarks, it is probable that the beard was sometimes tied up 
out of the way of the axe, at the request of the sufferer. Sir Thomas 
More, when laying his head on the block, said to the executioner: "Let 
me put my beard aside ; that hath not committed treason." 

169. Bared. Referring to the shaving of the head, and perhaps also 
to the tying of the beard. The first three folios have "bar'de," and the 
4th "barb'd." 

170. Pall to you upon this. Befall you on account of this. 

181. Attempt. Tempt ; as in M. of V. iv. 1. 421 : " I must attempt you 
further," etc. 

183. Character. Handwriting. 

192. Is writ. Hanmer reads " is here writ," which is of course what 
is meant. 

The unfolding star. Steevens quotes Milton, Camus, 93 : 

"The star that bids the shepherd fold 
Now the top of heaven doth hold." 

196. Present shrift. Immediate absolution (after confession). Cf. R. 
and J. ii. 3. 56 : " Riddling confession finds but riddling shrift." 

197. Absolutely resolve you. "Entirely convince you" (Mason). 

Scene III. — 5. Brown paper. Rowe changes paper to "pepper ;" but 
Steevens quotes Michaelmas Term, Com. 1607: "I know some gentlemen 



1 64 NOTES. 

in town have been glad, and are glad at this time, to take up commodities 
in hawk's-hoods and brown paper;" A New Trick to Cheat the Devil, 

3° • "to have been so bit already 

With taking up commodities of brown paper, 
Buttons past fashion, silks and satins, 
Rabies and children's fiddles, with like trash 
Took up at a dear rate, and sold for trifles ;" 

Greene's Defence of Coney- Catching, 1592: "so that if he borrow an hun- 
dred pound, he shall have forty in silver, and threescore in wares ; as 
lute-strings, hobby-horses, or brown paper," etc. Farmer and Douce add 
many similar passages, illustrating the practice of the money-lenders of 
that time. V. remarks: "An amusing and instructive paper might be 
made up from the plays, novels, and essays of France and England, for 
the last three centuries, describing the still familiar arts of the money- 
lenders, to whom men of desperate credit are driven for aid, in contriving 
to avoid the usury laws, by obliging the hapless customer to take a por- 
tion of their loan in some unsalable commodities, such as 'brown paper 
and old ginger.' From Shakespeare, who, as he soon became (in his own 
phrase) 'a rich fellow enough, and had everything handsome about him,' 
must have described only the experience of others, to Sheridan, who 
doubtless related his own experience in that of Charles Surface, there is 
hardly an English writer of comic fiction but has at least hinted at this 
fruitful topic. Le Sage, Moliere, etc., down to the present novelists of 
Paris, have also found in this perpetual food for pleasantry; and their 
laughable satire would not require much alteration to make it very intel- 
ligible on this side of the Atlantic. The first notice of it that has fallen 
in my way was in Wilson's Discourse on Usury (1572); and, as he 
speaks of it as being then no novelty, this establishes a very respectable 
antiquity for this time-honoured usage." 

7. For the old women were all dead. On the fondness of old women 
{or ginger, cf. M. of V. hi. 1. 10 : "I would she were as lying a gossip in 
that as ever knapped ginger," etc. 

10. Peaches him. Impeaches him as ; an obvious play on peach-col- 
oured. 

12. The rapier and dagger man. See p. 1 1 above. 

14. Forthright. The folios have " Forthlight ;" corrected by Warb. 
S. uses forthright in Temp. iii. 3. 3 and T. and C. iii. 3. 158. For Shooty 
(the folios have " Shootie " and " Shooty") Warb. reads " Shooter " and 
some editors " Shoe-tie." 

17. For the Lord's sake. The cry of debtors in prison in begging alms 
of the passers-by. Malone quotes a poem entitled Paper's Cojnplaint, 
printed about 161 1 : 

"Good gentle writers, for the Lord's sake, for the Lord's sake, 
Like Ludgate prisoner, lo, I, begging, make 
My mone ;" 

and Nash's Pierce Pennilesse, 1593: "crying for the Lord's sake out at 
an iron window." The Coll. MS. has "in for the Lord's sake." 

32. I hear his straw rustle. "The effect of these few words, and of 



i65 



ACT IV. SCENE III 

those immediately preceding, is marvellously strong, though so con- 
densed. They give the impression of the caged wild-beast-man, with^he 
unwillingness of his keepers to enter his den and bring him forth" 
(Clarke). 

37, Clap into yonr prayers. Cf. A. Y. E v, 3, 1 1 : " Shall we clap into 't 
roundly, without hawking or spitting?" and Much Ado, iii. 4. 44: "Clap 
us into ' Light o' love,' " etc 

61. gravel heart! O flinty heart ) The Coll. MS. has " O grovelling 
beast I" which W. adopts, though Coll. does not. 

65. Traiisport him. " Remove him from one world to another" (John- 
son). 

jy, Whiles. Used by S. interchangeably with while, which Pope sub- 
stitutes here. 

85. fourual. Diurnal; as in Cymb. iv. 2. IO : "your journal course." 

86. The under generation, " This lower world " ( Temp. iii. 3. 54). The 
folios have "yond" for tinder, which is Hanmer's emendation. Pope 
reads "yonder." Cf. Tear, ii. 2. 170: "Approach, thou beacon to this 
under world," etc, Steevens takes the under generation to be the Antip- 
odes, and cites Rich. II. iii, 2. 38 (see our ed. p. 189). 

97. By cold gradation and well-balauc'd form. That is, coolly and de- 
liberately (not hastily and passionately), and with due regard to form. 
The folios have " weale-balanc'd " or " weal balanc'd ;" corrected by 
Rowe, Schmidt would retain the old text, making it = " with due ob- 
servance of all forms, which it would be against the public interest not to 
observe." 

loo. Convenient. Proper, becoming. 

101 Commune, Accented by S. on the first syllable, except perhaps 
in W. T. ii. I. 162. 

107. Make her. That is, make for her. 

108. When it is least expected. Johnson remarks : " A better reason 
might have been given. It was necessary to keep Isabella in ignorance, 
that she might with more keenness accuse the deputy." 

116. Close. Silent, or secret. 

118. Shall not. Will not. 

120. Injurious. The Coll. MS. has "perjurious," Cf. Cymb. p. 187. 

126. CovenL " Convent " (Rowe's reading). It is an old form of that 
word, occurring again in Hen. VIII. iv. 2. 19. Covent Garden in London 
was originally the garden of the convent at Westminster. W. and H. 
have "convent," 

Confessor, Accented by S. on either the first or second syllable, ac- 
cording to the measure. 

127. Instance, Intimation. Cf. C of E. i, 1. 65 : 

" Before the always-wind-obeying deep 
Gave any tragic instance ot our harm." 

Or instance may be = proof (cf. A. Y. L. p. 170), referring to what follows. 
130, 131. If you can pace, etc. The pointing is that suggested by the 
Camb. editors. The common reading is 

" If you can, pace your wisdom 
In that good path that I would wish it go." 



1 66 NOTES. 

H. has 

"If you can pace youi wisdom 
In that good path that I would wi-.h it go, 
Then you shall have," etc. 

132. Your bosom. Your heart's desire. Cf. W. T. iv. 4. 574: "you 
have your father's bosom there," etc. 

141. Home and home. Cf. Ham. iii. 3. 29: "she '11 tax him home;" 
and see our ed. p. 232. 

142. Combined. Bound, pledged. Cf. combinate in iii. 1. 214 above. 
156. Beholding. Many of the modern eds. substitute "beholden," 

which is not found in S. See M. of V. p. 135. Gr. 372. 

^57- He hves not in them. "His character depends not on them" 
(Steevens). 

159. Woodman. Huntsman (cf. Cymb.p. 199), with the equivocal sense 
which the word had of hunting the dear rather than the deer. Reed 
quotes The Chances, i. 9 : 

"Well, well, son John, 
I see you are a woodman, and can choose 
Your deer, though it be i' the dark." 

169. Medlar. The fruit of the Mespilus Germanica, a tree still common 
in England. Cf. A. Y. L. iii. 2. 125, 128. 

Scene IV. — I. Hath disvonched other. Has contradicted the others. 
Cf. J. C. i. 2. 230: "every time gentler than other," etc. Gr. 12. 

5. Redeliver. The 1st folio has "re-liuer," the later folios "deliver." 
Redeliver is due to Capell. 

7. And why should we, etc. "It is the conscious guilt of Angelo that 
prompts this question. The reply of Escalus is such as arises from an 
undisturbed mind, that only considers the mysterious conduct of the duke 
in a political point of view " (Steevens). 

15. Of sort and suit. Of rank (cf. Hen. V. p. 181, note on Great sort) 
and such as owe attendance. By feudal law, all vassals were bound to 
be ready at all times to attend and serve their lord; or, as the expression 
was, they owed him "suit and service." 

18. U?ipregna7it. Unready, unapt for business. Cf. Ham. ii. 2. 595 : 
" unpregnant of my cause ;" and see our ed. p. 213. Cf. also the use of 
pregnant in i. 1. 11 above. 

23. Tongue. For the verb, cf. Cymb. v. 4. 148 : 

"such stuff as madmen 
Tongue and brain not." 

Dares her no. " Bids her not dare to do it " (Clarke), or admonishes 
her not to do it. For the use of no, a writer in the Monthly Revieiv com- 
pares B. and F., The Chances, iii. 4: "I wear a sword to satisfy the world 
no " (that it is not so) ; and A Wife for a Month, iv. : "I am sure he did 
not, for I charg'd him no" (not to do it). Schmidt thinks the meaning 
may be "defies her denial of my assertions." Pope omits no; Hannier 
reads "dares her: no;" Capell "dares her? no;" and W." dares her 
on " (the conjecture of Becket). 



ACT V. SCENE P. 



167 



24. Bears so credent bulk. The first three folios read " bears of a 
credent bulk;" the 4th folio changes "of" to "off." Pope has "bears 
off all credence," Theo. " bears a credent bulk," the Coll. MS. "bears 
such a credent bulk," and Sr. " here 's of a credent bulk." The emenda- 
tion in the text is Dyce's, and is adopted by Clarke and H. Credent bulk 
—great credibility, or "weight of credit" (Schmidt). 

25. Particular. Private, individual. Cf. Cor. p. 254. 

Scene V. — 1. These letters. " Peter never delivers the letters, but tells 
his story without any credentials. The poet forgot the plot which he 
had formed " (Johnson). 

5. Blench. Start away. Cf. IV. T. i. 2. 333: "Could man so blench ?" 
and see our ed. p. 160. 

8. Valentinns. The folios have "Valencius," and Pope reads "Unto 
Valentius." Valentinns is Capell's correction. 

9. Trumpets. Trumpeters ; as in Hen. V. iv. 2. 61 : "I will the banner 
from a trumpet take," etc. 

Scene VI. — 4. To veil full purpose. To cover his full intent. Theo. 
reads "t'availful purpose," and Hanmer "to'vailful purpose," which H. 
adopts. Neither "vailful nor availful is found elsewhere in S. 

13. Generous and gravest. That is, most generous, or most noble ; the 
superlative inflection really belonging to both adjectives. See Gr. 398. 
For generous, cf. Oth. p. 188. 

14. Hent. Taken possession of, occupied. Cf. W. T. iv. 3. 133: "mer- 
rily hent the stile-a." See also the noun (=hold, seizure) in Ham. iii. 
3. 88 : " a more horrid hent." 



ACT V. 

Scene I. — 7. Yield you forth to. W. and IT. read "yield forth to you." 
The use of forth with yield is somewhat peculiar. The expression may 
be— call you forth to give you public thanks. 

8. Bonds. Obligations. Cf. A. W. p. 144. 

14. Subject. Used in a collective sense ; as in iii. 2. 122 above. Theo. 
reads "subjects." 

20. Vail your regard. Bend down your look. Cf. M. of V. i. 1. 28 : 
" Vailing her high-top lower than her ribs ;" and see our ed. p. 128. 

36. Strange. The Coll. MS. has "strangely;" but the ellipsis of the 
adverbial inflection in pairs of adverbs is not unusual in S. Cf. Rich. IP. 
i. 3. 3: " sprightfully and bold;" Rich. IIP. iii. 4. 50: "cheerfully and 
smooth," etc. Gr. 397. 

37. Strange, but yet. Here also the Coll. MS. "corrects" the poet's 
English into "strangely yet." 

42. Nay, it is. Pope omits it is. 

48. Conjure. Accented by S. on either syllable, without regard to the 
meaning. Cf. M.N.D. p. 164. Capell reads "do conjure." 



,68 NOTES. 

53. Wicked'sL For contracted superlatives in S., see Gr. 473. 

54. Absolute. Complete, perfect. Cf. Ham. v. 2. ill : "an absolute 
gentleman." See also Hen. V. p. 170. 

56. Dressings. " Semblance of virtue, habiliments of office" (Johnson). 
Characis— characters, in the sense of writing; here used flguratively=dis- 
tinctive marks, outward characteristics. Cf. i. 1. 27 above. 

63. As e'er I heard, etc. That ever I heard, etc Capell conjectured 
"ne'er" for e'er, and some recent editors have shown their ignorance of 
Shakespeare's English by adopting that reading. M The oddest frame of 
sense as e'er I heard" is the leading construction (for which cf. y. C. i. 2. 
33 : " that gentleness ... as I was wont to have ;" and see Id. i. 2. 174), 
and line 62 is inserted as a parenthetic explanation of frame of 'sense. Cf. 
Gr. 112 and 280. 

Dr. Bucknill, in his Psychology of S. (quoted by Clarke) considers the 
passage as an instance of the poet's thorough knowledge of the right 
tests whereby to detect insanity. The duke says that he believes Isabella 
to be mad, and then adds that her madness has just that strange appear- 
ance of sense and connection which sometimes, though rarely, is heard 
from those who are mad. Then she, dreading lest her eagerness should 
give an air of disconnection to what she says, bids him "not banish rea- 
son for inequality," that is, "not believe her devoid of reason on account 
of incoherency or inconsistency." 

64. Do not banish reason, etc. Johnson explains this: "Let not the 
high quality of my adversary prejudice you against me." Schmidt doubts 
whether inequality means " incongruity, improbability," or " partiality." 

67. And hide the false seems trice. If this be what S. wrote, the mean- 
ing must be "and suppress the false which seems true." Hide seems 
not just the word to use in this sense, but, as Malone suggests, it may 
have been chosen for the sake of the antithesis. Theo. reads " Not hide," 
the plausible conjecture of Warb. 

72. Probation. Cf. i. 2. 168 above. 

74. As then. For as with expressions of time, see Temp. p. 1 13, note 
on As at that time. Cf. Gr. 1 14. 

An Y like. If it please. Cf. ii. I. 155 above. 

90. To the matter. "German to the matter" {Ham. v. 2. 165), suited to 
the case. 

94. KefelVd. Refuted (Latin refello) ; used by S. only here. Pope 
reads "repel I'd." 

98. Concupiscible. "Concupiscent" (Pope's reading). S. uses the 
word nowhere else, and concupiscent and concupiscence not at all. We 
find the noun concicpy in T. and C. v. 2. 177. 

100. Remorse. Pity, compassion; as in ii. 2. 54 above. Confutes = 
prevails over. 

104. Like. Seeming like truth, likely to be believed. Warb. explained 
like as="seemlv ;" but Johnson is clearly right in taking the speech to 
be a wish " that since her tale is true it may be believed." 

105. Fond. Foolish. See on ii. 2. 149 and 186 above. 

107. Practice. Plotting, conspiracy ; as in 123 below. Cf. Much Ado, 
p. 156, or Ham. p. 255. 



ACT V. SCENE I. 



169 



108. Imports no reason. Carries with it no reason, is not reasonable. 

no. Proper to himself. Belonging to himself. Cf. i. 1. 30 above. 

118. Countenance. Explained by Warb. as =" partial favour;" but it 
seems rather=" false appearance," as Mason makes it. Schmidt puts it 
under the head of "authority, credit, patronage." 

127. 'Tis. Contemptuous; as often. See A. Y. L. p. 139. 

130. Swing 1 d. Whipped, beaten. Cf. 2 Hen. IV. v. 4. 21 : "I will have 
you as soundly swinged for this," etc. 

131. This '. This is. Cf. lear, p. 246. Here the first three folios have 
this\ and the 4th folio " this." Rowe reads " this is," the Camb. ed. 
"this 's," and H. "'t is." 

142. Ungot. Not begotten. Cf. un gotten in Hen. V. i. 2. 287. 

145. A temporary meddler. That is, one who meddles with temporal 
matters, or things not concerning his spiritual profession. It is the only 
instance of the word in S. 

147. Trust. The Coll. MS. has " truth." 

152. Mere request. Particular request. I'or the use of mere and merely 
in S., see Temp. p. in, note on We are merely cheated, etc. 

157. Probation. Proof; as in Ham. i. I. 156 (see our ed. p. 176), Oth. 
iii.3. 365 (see p. 191), etc. 

158. Convented. Summoned, called to appear. Cf. T.N. p. 169. 

160. Vulgarly. Before all the people, publicly (Steevens and Schmidt). 
Some explain it as "grossly, coarsely;" and Clarke thinks it combines 
both meanings. 

166. Impartial. Taking no part ; as in V. and A. 748 : "the impartial 
gazer." Theo. reads " I will be partial." Malone shows that impartial 
was sometimes used in the sense of partial ; but there is no necessity for 
explaining it so here. 

168. Her face. The reading of the 2d folio ; the 1st has "your face." 

200. Just. See on iii. 1. 67 above. 

203. Abuse. Deception, or delusion. Cf. Ham. p. 255. 

210. Garden-house. Summer-house ; often, as Malone shows by quota- 
tions from contemporaneous writers, the scene of intrigue. 

217. Her promised proportions, etc. " Her fortune, which was promised 
proportionate to mine, fell short of the composition, that is, contract or 
bargain" (Johnson). Proportion, however, may be simply=portion ; as 
in T. G. of V. ii. 3. 3 : "I have received my proportion." See also Per. 
iv. 2. 29. 

219. Disvalued. Depreciated ; the only instance of the word in S. 

221. Spake. For the past tense after since, see Gr. 132, 347. 

230. Confixed. Fixed ; used by S. nowhere else. 

234. Informal. Insane; as formal was=sane. Cf. C. of E. v. 1. 105 : 
" To make of him a formal man again ;" and see our ed. p. 144. S. uses 
informal only here. 

235. More mightier. For double comparatives and superlatives in S., 
see Gr. 11. 

237. Practice. Plot, conspiracy; as in 107 and 123 above. 

238. To your height of pleasure. As much as you please. Pope reads 
" unto " for to, and Capell "even to." 



170 



NOTES. 



240. Compact. Leagued, united in conspiracy ; as in Lear, ii. 2. 125 : 

" When he, compact, and nattering his displeasure, 
Tripp'd me behind." 

243. SeaVd in approbation. "Approved, and sealed in testimony of that 
approbation, and, like other things so sealed, no more to be called in ques- 
tion " (Johnson). 

253. To hear this matter forth. "To hear the further process of the 
matter" (Schmidt) ; or "hear it to the end" (Johnson). 

258. Throughly. Thoroughly. See M. of V. p. 144, note on Through- 
fares. 

261. Cucnllus non facit monachum. " All hoods make not monks," as 
it is translated in Hen. VIII. iii. 1. 23. The Latin is quoted again in T. 
N. i. 5. 62. 

265. Enforce. Urge, give the weight of your testimony concerning. 

278. Light. A word on which S. is fond of quibbling. Cf. M. of V. v. 

!• 129 : "Let me give light, but let me not be light, 

For a light wile doth make a heavy husband." 

See also Id. ii. 6. 42, iii. 2. 91, L. L. L. v. 2. 26, etc. 

290. Respect to your great place ! etc. This seems to be spoken with a 
touch of irony. Malone suspected that a line had been lost before this ; 
but the connection is clear enough : yes, I know where I am, and the re- 
spect due to your office at least. 

299. Retort your manifest appeal. " To refer back to Angelo the cause 
in which you appealed from Angelo to the duke " (Johnson). Schmidt 
makes retort= reject. 

306. His proper ear. His own ear. See on i. 2. 1 14 above. 

309. Touze. Pull, tear. See W. T. p. 206. 

314. Nor here provincial. Nor under the jurisdiction of this ecclesi- 
astical province (Malone and Schmidt). 

317. The stero. Apparently r^the cauldron ; with perhaps an allusion 
to stetv = brothel, as H. suggests. Steevens compares Macb. iv. 1. 19 : 
44 Like a hell-broth boil and bubble." 

319. The forfeits in a barber's shop. " Those shops were places of great 
resort, for passing away time in an idle manner. By way of enforcing 
some kind of regularity, and perhaps at least as much to promote drink- 
ing, certain laws were usually hung up, the transgression of which was to 
be punished by specific forfeitures. It is not to be wondered that laws 
of that nature were as often laughed at as obeyed " (Nares). Dr. Ken- 
rick has given some specimens of these forfeits — as, for instance, 

44 Who rudely takes another's turn 
A forfeit mug may manners learn ;" 
and 

44 Who checks the barber in his tale 
Must pay for each his pot of ale." 

According to Steevens, these are forgeries, but St. thinks they may be 
authentic. Henley remembered to have seen such forfeits in Devonshire 
(printed like "King Charles's Rules"), but could not recollect any of 
them. 



ACT V. SCENE I. 



171 



339. Close. Come to an agreement, make his peace. Elsewhere it is 
followed by with, but the sense is the same. Cf. W. T. iv. 4. 830, J. C. iii. 
1. 202, 2 Hen. IV. ii. 4. 354, etc. The Coll. MS. has "gloze." 

344. Giglots. Wantons; spelt "giglets" in the old editions. Cf. the 
adjective in 1 Hen. VI. iv. 7.41 : "giglot wench;" and Cymb. iii. 1. 31 : 
" U giglot fortune !" 

345. Companion. Used contemptuously (= fellow) ; as in J. C. iv. 3. 
138 : " Companion, hence !" 2 Hen. IV. ii. 4. 132 : " I scorn you, scurvy 
companion," etc. See Temp. p. 131, note on Your fellow. 

351. Sheep-biting. Explained by Schmidt as " morose, surly, malicious ;" 
but according to D. it was a cant term for thieving. Cf. sheep-biter in T. 
A r . ii. 5. 6, and see our ed. p. 142. 

Be hanged an hour I This seems to have been a cant phrase; but 
Haniner reads "hanged ! An hour?" and Johnson conjectures " hanged 
— an' how?" Lloyd suggests "hanged anon." 

360. Do thee office. " Do thee service " (Steevens). 

366. My passes. My proceedings, or acts ; used like passages in T N. 
iii. 2. 77, 1 Hen. IV. iii. 2. 8, etc. 

374. Which consummate. Which being consummated. For the form, 
cf. dedicate in ii. 2. 154 above. 

379. Advertising and holy. " Attentive and faithful " (Johnson). Ad- 
vertising is rather— counselling, instructing; as in i. I. 41 above. Holy 
apparently refers to his having acted the part of a priest. 

382. Paiifd. Made labour and trouble for. Cf./^/;//«/=laborious, in 
Tenip. iii. 1. 1, Z. L. L. ii. 1. 23, etc. 

384. Free. Liberal, generous. 

388. Remonstrance. "Demonstration, manifestation " (Schmidt) ; the 
only instance of the word in S. Malone conjectured " demonstrance," 
which St. adopts ; but remonstrance unquestionably had that sense in the 
poet's day. H. cites an example of it from Hooker. 

392. Braiu'd my purpose. "Knocked my design on the head" (Johnson). 

397. Salt. Lustful ; as in A. and C. ii. 1. 21 : "salt Cleopatra," etc. 

401. Of promise-breach. Hanmer reads "in promise-breach ;" but the 
" confusion of construction " is not unlike others in S. Cf. Gr. 415. 

404. His proper tongue. His own tongue. Cf. 306 above. 

407. Quit. Requite ; as in 492 below. Cf. Rich. II. p. 208. 

408. Fault 'j. D. reads "fault," making the next line parenthetical. 

409. Denies thee vantage. "Will avail thee nothing" (Malone). 
Wouldst = shouldst. 

419. Confiscation. The reading of the 2d folio; the 1st has "confuta- 
tion." 

420. Widow you. Dower you. 

-423. Definitive. Resolved; the only instance of the word in S. He 
uses definite once (in Cymb. i. 6. 43) and in the same sense. 

429. Importune. For the accent, see on i. 1. 56 above. Sense— hoih. 
reason and feeling (Johnson). 

430. Fact. Deed, crime. See on iv. 2. 130 above. 

447. His act did not overtake his bad intent. Steevens quotes Macb. iv. 
I. 145 : 



I 7 2 



NOTES. 

"The flighty purpose never is o'ertook 
Unless the deed go with it." 



448. Must be buried, etc. " Like the traveller, who dies on his journey, 
is obscurely interred, and thought of no more " (Steevens). 

460. After more advice. On further consideration. Cf. M. of V. p. 
161. 

463. What \r he? Who is he ? See on iv. 2. 122 above. 

479. Quit. Acquit, forgive. Cf. A. Y. L. p. 169. 

488. Give me your hand. That is, if you give me your hand. 

493. Her worth worth yours. " Her value is equal to your value, she 
is not unworthy of you " (Johnson). Hanmer reads "her worth works 
yours." 

494. Apt remission. " Readiness to forgive " (J. H.). 

495. In place. Present; as in T. of S. i. 2. 157, 3 Hen. VI. iv. 1. 103, 
etc. 

497. Luxury. Lust ; the only meaning in S. Cf. Hen. V. p. 166. 

498. Deserved so. The folios have "so deserved;" corrected by Pope. 
The Coll. MS. has "so well deserv'd." 

500. According to the trick. According to the fashion, after the man- 
ner of young fellows. 

505. If any woman \r wrong'd. The folio has "woman ;" corrected by 
Hanmer. The Camb. ed. reads, " Is any woman," etc. 

508. Nuptial. See on iii. 1. 207 above. 

517. Pressing to death. Alluding to the ancient punishment of the 
peine forte et dure, or pressing to death by heavy weights laid on the 
body. Cf. Much Ado, iii. 1. 76, Rich. II. iii. 4. 72, etc. 

520. She. For a wonder, not " corrected " by Pope to her. See on iii. 
I. 206 above. 

524. Gratulate. To be gratulated, gratifying. For the form, see on 374 
above. Hanmer reads "execute " for executed in 516. 

534. That \y. The reading of the 2d folio ; the 1st has " that." 



ADDENDUM. 

The "Time-Analysis" of the Play.— This is summed up by Mr. 
P. A. Daniel, in his paper "On the Times or Durations of the Action of 
Shakspere's Plays" (Trans, of A r ew Shahs. Soc. 1877-79, p. 139), as fol- 
lows : 

"The time of the Play, then, is four days : — 

1. Act I. sc. i. may be taken as a kind of prelude, after which some 
little interval must be supposed in order to permit the new governors 
of the city to settle to their work. The rest of the Play is comprised in 
three consecutive days. 

2. Commences with Act I. sc. ii. and ends in Act IV. sc. ii. 

3. Commences in Act IV. sc. ii. and ends with Act IV. sc. iv. 

4. Includes Act IV. sc. v. and vi. and the whole of Act V., which is in 
one scene only." 



INDEX OF WORDS AND PHRASES 
EXPLAINED. 



absolute (=perfect), 168. 
absolute for deatb, 151. 
absolutely resolve you, 163. 
abuse (= deception), 169. 
according to the trick, 172. 
action all of precept, 161. 
advertise ( = instruct), 135, 

affect (=like), 13 5- 
affection (^impulse), 151. 
after (=at the rate of), 144- 
after more advice, 172. 
all-holding, 149- 
an 't like, 168. 
anchors on Isabel, 148- 
angel (play upon?), 148. 
appointment, 153. _ 

approbation ( = probation ), 

138. . . 
apt remission, 172. 
as (conjunction of reminder), 

149. 
as (of time), 168. 
as that, 147. 
assay (atrial), 156. 
attempt (^tempt), 163. 
aves, 135. 
avised, 146. 

bared, 163. 
bastard (^wine), 157. 
bay (in architecture), 144- 
be hanged an hour! 171. 
bear in hand, 141. 
becomes as aged, 153. 
1 beholding (—beholden), 166. 
belongings, 134. 
bestowed her on her own 

lamentation. 156. 
bite the law by the nose, 154. 
black masks, these. 149. 
blench, 167. 
blood (=passion), 141. 
bonds, 167. 
boot, with, 148. 
borne up. 162 

bosom =heart's desire), 166. 
brained my purpose, 171. 



brakes of vice, 142. 
bravery (=finery), 139. 
breeds, 146- 
bring (=escort), 135- 
brother father, 157. 
brown paper, 163. 
Bunch of Grapes, 143. 
but as, 144- 

case (=coveringl, 148. 
censured ( = judged), 141, 

»4 2 - . . i 

character ( = writing), 134, 

163. 
characts, 168. 
China dishes, 143- 
circummured, 160. 
clack-dish, 158. 
clap into your prayers, 165. 
close (=make his peace), 

171. 
close (^silent), 165. 

cold gradation, 165. 

combinate, 156. 

combined (=pledged), 166. 

come to your waist, 157. 

come your ways, 158. 

comes off well, 142. 

commission (quadrisyllable), 

commune (accent), 165. 
compact (=leagued), 170. 
companion, 171. 
compelled (accent), 149- 
complete (accent), >39- 
composition ( = contract ), 

169. 
compound (—agree), 161. 
concerning her observance 

161. 
concupiscible, 168. 
confessor (accent), 165. 
confixed, 169. 
conjure (accent), 167. 
conserve (—preserve), 154- 
constantly (=firmly), 160. 
consummate, 171. 
continue, 143- 



contract (accent), 137. 
contrarious, 161. 
convenient (=proper), 165. 
convented, 169. 
countenance, 169. 
covent (^convent), 165. 
credent bulk, 167. 
credulous to false prints, 

150. 
cry vou mercy, 160. 
cucullus non facit mona- 

chum, 170. 
cunning (=sagacity), 163. 
curfew, 162. 

dares her no, 166. 
deadly sins, the seven, 154. 
death's fool. 152. 
dedicate (=dedicated), 147. 
defiance (=refusal), 1 so- 
definitive, 171. 
delighted, 155. 
denies thee vantage, 171. 
denunciation, 137. 
deputation, 134. 
desperately mortal, 163. 
detected (=accused), 158. 
determined scope, 153. 
detest (r=protest), 143. 
die the death, 157. 
discover (—uncover), 156. 
dispense with ( = excuse ), 

156. . 
dissolution, 159. 

disvalued, 169. 

disvouched, 166. 

do me slander, 140. 

do thee office, 171. 

dolours (play upon), 136. 

done myself wrong, 136. 

draw (play upon), 143- 

drawn in, 143. 

dressings, 168. 

dribber, 139. 

dribbling, 139. 

edict (accent). 145. 

effects (^expressions), 152. 



174 



INDEX OF WORDS AND PHRASES EXPLAINED. 



eld, 153. 

emmew, 154. 
enforce (=urge\ 170. 
enshield (=enshielied), 149. 
entertain, 153. 
escapes (=sallies), 161. 
estimation, 161. 
evils (=privies\ 147. 
exists (=existest , 152. 
extirp, 158. 

fact (=deed), 163, 171. 

fall (=befall), 163. 

fall (transitive?), 141. 

falsely (^illegally', 1 |8. 

fault and glimpse. 138. 

favour (=face), 163. 

favour (play upon), 161. 

fear (=affright), 141. 

fedary, 150. 

fewness and truth, 140. 

file (=number) 158. 

fine (=punish), 144, 154. 

fine issues, 135. 

first in question, 135. 

flames (of youth 1 , 147. 

flourish (=colour), 161. 

foison, 141. 

fond (=foolish), 146, 147, 168. 

fondness, 148. 

for (=because), 142. 

for the Lord's sake, 164. 

for vain, 148. 

forfeit (adjective ?>, 158. 

forfeits in a barber's shop, 

170. 
Forthright, 164. 
fox and lamb skins, 157. 
free (—liberal), 171. 
French crown, 136. 
from flowery tenderness, 153. 
function, 159. 

garden-house, 169. 

general (=multitude), 148. 

generous and gravest, 167- 

giglots, 171. 

give fear to use, 141. 

glassy essence, 146. 

grace, 141. 

grange, 157. 

gratulate (^gratifying), 172. 

gravel heart, 165 

grievous imposition, 139. 

groaning, 144. 

guards (= facings), 154. 

gyves, 161. 

had as lief, 136. 
Hannibal ( — cannibal), 143. 
happily (=haply), 162. 
hear this matter forth, 170. 
heaven shield, etc., 156. 



heavy (^drowsy), 161. 
helmed, 158. 
hent, 167. 

hide the false seems true, 168. 
his (=its), 163. 
hold therefore, Angelo, 135. 
hold you there, 156. 
home and home, 166. 
hot-house (=bagnio), 142. 
houses in the suburbs, 137. 
how say you? 149. 
husband, 158. 

if you be remembered, 143. 

ignomy, 150. 

impartial. 169. 

imports no reason, 169. 

importune (accent), 135, 171. 

imposition, 139. 

in a manifested effect, 163. 

in few, 140, 156. 

in good time, 156. 

in metre, 136. 

in my voice, 138. 

in our remove, 135. 

in place (=present), 172. 

in the loss of question, 149. 

in the tub, 157. 

influence, 152- 

informal (=insane), 169. 

insensible of mortality, 163. 

instance (=intimation), 165. 

invention ( = imagination ), 

t i 4 3. 

inward (noun), 158. 

its, 136. 

jade, 144. 

journal (=diurnal), 165. 
just (=just so), 153, 169. 
Justice or Iniquity, 143. 

keep (=dwell), 152. 
know (=reflect), 141. 

lapwing. 140. 

leave me your snatches, 161. 

leavened. 135. 

lieger, 153. 

life removed, the, 139. 

light (play upon), 170. 

like man new made, 145. 

like (=please), 143, 168. 

limit, 156. 

limited (r=appointed), 163. 

lists (=bounds), 133. 

longs (=belongs), 145. 

lover (feminine), 140. 

lower chair (=easy- chair', 

i43- 
luxury (=lust), 172. 

make me not your story, 140. 



me (expletive), 138, 143, 161. 

mealed, 162. 

mean (=means), 150. 

means, 149. 

medlar, 166. 

meet, 160. 

men their creation mar, etc, 

150. 
mere, 169. 

mind of honour, 151. 
miscarried (=was lost\ rs6. 
moe thousand deaths, 153. 
more fitter, 144. 
more mightier, 169. 
mother (=abbess), 141. 
my most stay, 16 1. 
my part in him, 135 
my vouch against you, 151. 
mystery (=calling), 161. 

not (transposed), 142. 
not the wear, 158. 
nothing come in partial, 142. 
nothing of your answer, 149. 
nuptial. 156, 172. 
nursed by baseness, 152. 

of (omitted), 146. 

of season, 145. 

open room and good for 

winter, 143. 
opposite (^opponent), 158. 
other (=others), 166. 
out at elbow, 142. 
owe (^possess), 141. 

pain (=penalty), 149. 
pained, 171. 
parcel-bawd, 142. 
particular ( = private), 167. 
passes (^proceedings), 171. 
peaches him, 164. 
pelting (=paltry), 146. 
perdmably, 154. 
permissive, 140. 
Philip and Jacob, 159. 
piled (play upon), 136. 
pith of business, my, 141. 
planched, 160. 
please (=if it please', 144. 
Pompey, 143. 

possessed (^informed), 161. 
possession (quadrisyllable), 

i37- 
practice ( = plotting ), 168, 

169. 
precise villains. 142. 
pregnant (=evident\ 142. 
pregnant (=ready!, 134, 166. 
prenzie, 154. 

present (=immediate\ 163. 
preserved, 147. 
pressing to death, 172. 



INDEX OF WORDS AND PHRASES EXPLAINED. 175 



probation (=novitiate), 138? 

168. 
probation (=proof), 169. 
profanation (blunder), 142. 
profit by, 150. 
prolixious blushes, 151. 
prompture, 151. 
prone, 139. 

propagation of a dower, 138. 
proper (adverb), 134. 
proper ( = own ), 137* l6 9> 

170, 171. 
proportion (=measure), 136. 
proportion (=portion ?), 169. 
provincial, 170. 
provoke (=invoke\ 152. 
purchased (=got), 136. 
put to know, 133. 
putting-on, 163. 
Pygmalion's images, 157. 



qualify (=abate), 162. 
quests (=spyings), 161. 
quit (=acquit), 172. 
quit (=requite), 171. 

race (=natural disposition), 

rack (=distort), 161. 
rapier and dagger man, 164. 
ravin down, 137. 
rebate, 141. 

receive her approbation, 138. 
received (=understood),i49- 
record (accent), 145. 
refelled, 168. 
refer yourself to, 157. 
regard (=look), 167. 
region (=confinement), 155. 
remonstrance, 171. 
remorse (=pity), 145, 168. 
remove (noun), 135. 
renouncement, 140. 
resolve (^convince), 163. 
resolve (=inform\ 156. 
resolved to die, 159- 
restrained (=forbidden), 149. 
retort your manifest appeal, 

170. 
Russia (trisyllable), 143- 

salt (=lustful), 171. 

saucy sweetness, 148. 

scape, 158. 

scope, 135, 137. 

sealed in approbation, 170. 

See (=Rome), 159. 

seedness, 141. 

seeming, 151. 

seldom when, 162. 

sense, 171. 

serpigo, 152. 

several (^separate), 148. 



severe (accent), 145. 

shall (=will), 16s. 

she (=her), 156, 172. 

sheep-biting, 171. 

shekels (spelling), 146. 

Shooty, 164. 

shrewd (=evil), 144. 

shrift, 163. 

shy (=demure), 158. 

siege (=seat), 162. 

since (with past tense), 169. 

sins, the seven deadly, 154. 

sith, 139, 161. 

skin (verb), 146. 

slip of wilderness, 156. 

smell of calumny, 151. 

snatches, 161. 

soon at night, 141. 

sort and suit, 166. 

spare heaven, 148. 

spirit (monosyllable), 162. 

spirits in prison, 147. 

splay (=spay), 143. 

splits (=splittest), 146. 

stage (verb), 135* 

stagger (=waver), 138. 

stands at a guard with, 140. 

stands in record, 145. 

starkly, 162. 

stays upon, 161. 

stead (=help), 140. 

stead up, 157. 

stew, 170. 

stewed prunes, 143. 

still (=ever), 154. 

straitness, 159. 

strange (adverb\ 167. 

stricture (=strictness), 139. 

stroke, 162. 

stuck upon thee, 161. 

subject (collective), 158, 167. 

subscribe, 149. 

successive (accent), 146. 

sufferance (=suffering), 153. 

supposed (=deposed), 143. 

sweat (=plague), 136 

swinged, 169. 

tax (=accuse), 149. 

temporary meddler, 169. 

terms, 134- 

testimonied, 158. 

there went but a pair of 

shears between us, 136. 
thirsty evil, 137. 
this ', 169. 
this fourteen, 139. 
Thomas (of a tapster), 137. 
throughly, 170. 
tickle (^ticklish), 138. 
tick-tack, 139. 
tie the beard, 163. 
tilth, 141, 161. 



't is (contemptuous), 169. 
to the matter, 168. 
toyourheightofpleasure, 169. 
tongue (verb), 166. 
top of judgment, 145. 
touze, 170. 

trade (=custom), 156. 
transport (verb), 165. 
trot (contemptuous), 157. 
true (=honest), 161. 
trumpet (=trumpeter), 167. 
tub, in the, 157. 
tun-dish, 158. 

under generation, 165. 

unfolding star, 163. 

ungenitured, 158. 

ungot, 169. 

unhurtful, 158. 

unpitied, 161. 

unpregnant, 166. 

unshunned, 157. 

unsisting. 162. 

untrussing, 158. 

unweighing. 158. 

upon (=on account of), 163. 

uprighteously, 156. 

use and liberty, 141. 

use (=habit), 158. 

vail (=lower), 167. 
Valentinus, 167. 
vastidity, 153. 
veil full purpose, 167. 
votarist (feminine), 140. 
vouch against you, 151. 
vulgarly (=publicly), 169. 

waist, come to your, 157. 
wanton stings, 141. 
well believe this, 145. 
well-balanced form, 165. 
what (=who), 163, 172. 
where prayers cross, 147. 
whiles, 165. 
who (=which), 139. 
wicked'st, 168. 
widow (=dower), 171. 
wilderness (=wildness), 156. 
with our spleens, 146. 
with special soul, 134. 
woodman (=hunter), 166. 
worm (=serpent), 152. 
worn (=put in use), 138. 
wot, 143. 

wouldst (=shouldst), 171. 
wracked, 156. 

yare, 162. 

year (plural), 144. 

yield you forth to, 167. 

zodiacs, 138. 




SHAKESPEARE S BUST. 



SHAKESPEARE. 



WITH NOTES BY WM. J. ROLFE, A.M. 



The Merchant of Venice. 

The Tempest. 

Julius Caesar. 

Hamlet. 

As You Like It. 

Heury the Fifth. 

Macbeth. 

Heury the Eighth. 

A Midsummer-Night's Dream. 

Richard the Second. 

Richard the Third. 

Much Ado About Nothing. 

Antony and Cleopatra. 

Romeo and Juliet. 

Othello. 

Twelfth Night. 

The Winter's Tale. 

King John. 

Henry IV. Part I. 

Henry IV. Part II. 



King Lear. 

The Taming of the Shrew. 

All 's Well That Ends Well. 

Coriolanus. 

Comedy of Errors. 

Cymbeline. 

Merry Wives of Windsor. 

Measure for Measure. 

Two Gentlemen of Verona. 

Love's Labour 's Lost. 

Timon of Athens. 

Henry VI. Part I. 

Henry VI. Part II. 

Henry VI. Part III. 

Troilus and Cressida. 

Pericles, Prince of Tyre. 

The Two Noble Kinsmen. 

Poems. 

Sonnets. 

Titus Andronicus. 



Illustrated. 16mo, Cloth, 56 CTS. per Vol. ; Paper, 40 cts. per Vol. 



In the preparation of this edition of the English Classics it has been 
the aim to adapt them for school and home reading, in essentially the 
same way as Greek and Latin Classics are edited for educational pur- 
poses. The chief requisites are a pure text (expurgated, if necessary), 
and the notes needed for its thorough explanation and illustration. 

Each of Shakespeare's plays is complete in one volume, and is pre- 
ceded by an Introduction containing the u History of the Play," the 
" Sources of the Plot," and " Critical Comments ■on the Play. 1 ' 



From Horace Howard Fdrness, Ph.D., LL.D., Editor of the u New Vario- 
rum Shakespeare.'''' 
No one can examine these volumes and fail to be impressed wiih the 
conscientious accuracy and scholarly completeness with which they are 
edited. The educational purposes for which the notes are written Mr. 
Rolfe never loses sight of, but like "a well-experienced archer hits the 
mark his eve doth level at." 



Rolfe' 1 s Shakespeare. 



From F. J. FurnivaYx, Director of the New Shakspere Society, London, 

The merit I see in Mr. Rolfe's school editions of Shakspere's Plays 
over those most widely used in England is that Mr. Rolfe edits the plays 
as works of a poet, and not only as productions in Tudor English. Some 
editors think that all they have to do with a play is to state its source 
and explain its hard words and allusions ; they treat it as they would a 
charter or a catalogue of household furniture, and then rest satisfied. 
But Mr. Rolfe, while clearing up all verbal difficulties as carefully as any 
Dryasdust, always adds the choicest extracts he can find, on the spirit 
and special "note" of each play, and on the leading characteristics of its 
chief personages. He does not leave the student without help in getting 
at Shakspere's chief attributes, his characterization and poetic power. 
And every practical teacher knows that while every boy can look out 
hard words in a lexicon for himself, not one in a score can, unhelped, 
catch points of and realize character, and feel and express the distinctive 
individuality of each play as a poetic creation. 

From Prof. Edward Dowden, LL.D., of the University of Dublin, 
Author of "Shakspere : His Mind and Arty 
I incline to think that no edition is likely to be so useful for school and 
home reading as yours. Your notes contain so much accurate instruc- 
tion, with so little that is superfluous ; you do not neglect the aesthetic 
study of the play ; and in externals, paper, type, binding, etc., you make 
a book "pleasant to the eyes" (as well as "to be desired to make one 
wise ") — no small matter, I think, with young readers and with old. 

From Edwin A. Abbott, M.A., Author of '" Shakespearian Grammar.'''' 
I have not seen any edition that compresses so much necessary infor- 
mation into so small a space, nor any that so completely avoids the com- 
mon faults of commentaries on Shakespeare — needless repetition, super- 
fluous explanation, and unscholar-like ignoring of difficulties. 

From Hiram Corson, M.A., Professor of Anglo-Saxon and English 
Literature, Cornell University, Ithaca, A r . Y. 
In the way of annotated editions of separate plays of Shakespeare, for 
educational purposes, I know of none quite up to Kolfe's. 



Rolfe's Shakespeare. 



From Prof. F. J. Child, of Harvard University. 

I read your " Merchant of Venice" with my class, and found it in every 
respect an excellent edition. I do not agree with my friend White in the 
opinion that Shakespeare requires but few notes — that is, if he is to be 
thoroughly understood. Doubtless he may be enjoyed, and many a hard 
place slid over. Your notes give all the help a young student requires, 
and yet the reader for pleasure will easily get at just what he wants. 
You have indeed been conscientiously concise. 

Under date of July 25, 1879, Prof. Child adds : Mr. Rolfe's editions 
of plays of Shakespeare are very valuable and convenient books, whether 
for a college class or for private study. I have used them with my 
students, and I welcome every addition that is made to the series. They 
show care, research, and good judgment, and are fully up to the time in 
scholarship. I fully agree with the opinion that experienced teachers 
have expressed of the excellence of these books. 

From Rev. A. P. Peabody, D.D., Professor in Harvard University. 

1 regard your own work as of the highest merit, while you have turned 
the labors of others to the best possible account. I want to have the 
higher classes of our schools introduced to Shakespeare chief of all, and 
then to other standard English authors ; but this cannot be done to ad- 
vantage, unless under a teacher of equally rare gifts and abundant leisure, 
or through editions specially prepared for such use. I trust that you 
will have the requisite encouragement to proceed with a work so hap- 
pily begun. 

From the Examiner and Chronicle, N. Y. 
We repeat what we have often said, that there is no edition of Shake- 
speare's which seems to us preferable to Mr. Rolfe's. As mere specimens 
of the printer's and binder's art they are unexcelled, and their other 
merits are equally high. Mr. Rolfe, having learned by the practical ex- 
perience of the class-room what aid the average student really needs in 
order to read Shakespeare intelligently, has put just that amount of aid 
into his notes, and no more. Having said what needs to be said, he stops 
there. It is a rare virtue in the editor of a classic, and we are propor- 
tionately grateful for it. 



Rolfe y s Shakespeare. 



From the N. Y. Times. 
This work has been done so well that it could hardly have been done 
better. It shows throughout knowledge, taste, discriminating judgment, 
and, what is rarer and of yet higher value, a sympathetic appreciation of 
the poet's moods and purposes. 

From the Pacific School Journal, San Francisco. 
This edition of Shakespeare's plays bids fair to be the most valuable 
aid to the study of English literature yet published. For educational pur- 
poses it is beyond praise. Each of the plays is printed in large clear type 
and on excellent paper. Every difficulty of the text is clearly explained 
by copious notes. It is remarkable how many new beauties one may dis- 
cern in Shakespeare with the aid of the glossaries attached to these books. 
. . . Teachers can do no higher, better work than to inculcate a love 
for the best literature, and such books as these will best aid them in 
cultivating a pure and refined taste. 

From the Christian Unio?t, N. Y. 
Mr. W. J. Rolfe's capital edition of Shakespeare — by far the best edi- 
tion for school and parlor use. We speak after some practical use of it 
in a village Shakespeare Club. The notes are brief but usefu-1 ; and the 
necessary expurgations are managed with discriminating skilk 

From the Academy, London. 
Mr. Rolfe's excellent series of school-editions of the Plays of Shake- 
speare. . . . Mr. Rolfe's editions differ from some of the English ones 
in looking on the plays as something more than word-puzzles. They give 
the student helps and hints on the characters and meanings of the plays, 
while the word-notes are also full and posted up to the latest date. . . . 
Mr. Rolfe also adds to each of his books a most useful " Index of Words 
and Phrases explained." 



Published by HARPER & BROTHERS, New York. 

Any of the above works will be sent by mail, postage Prepaid, to any part of the 
United States, on receipt oj the price. 



OLIVER GOLDSMITH. 

SELECT POEMS OF OLIVER GOLDSMITH. Edited, 
with Notes, by William J. Rolfe, A.M., formerly Head 
Master of the High School, Cambridge, Mass. Illus- 
trated. i6mo, Paper, 40 cents ; Cloth, 56 cents. (Uni- 
form with fiolfe's Shakespeare.) 



The carefully arranged editions of "The Merchant of Venice " and 
other of Shakespeare's plays prepared by Mr. William J. Rolfe for the 
use of students will be remembered with pleasure by many readers, and 
they will welcome another volume of a similar character from the same 
source, in the form of the " Select Poems of Oliver Goldsmith," edited 
with notes fuller than those of any other known edition, many of them 
original with the editor. — Boston Transcript. 

Mr. Rolfe is doing very useful work in the preparation of compact 
hand-books for study in English literature. His own personal culture, 
and his long experience as a teacher, give him good knowledge of what 
is wanted in this way. — The Congregationalist, Boston. 

Mr. Rolfe has prefixed to the Poems selections illustrative of Gold- 
smith's character as a man and grade as a poet, from sketches by Ma- 
caulay, Thackeray, George Colman, Thomas Campbell, John Forster, 
and Washington Irving. He has also appended, at the end of the 
volume, a body of scholarly notes explaining and illustrating the poems, 
and dealing with the times in which they were written, as well as the 
incidents and circumstances attending their composition. — Christian 
Intelligencer, N. Y. 

The notes are just and discriminating in tone, and supply all that is 
necessary either for understanding the thought of the several poems, or 
for a critical study of the language. The use of such books in the school- 
room cannot but contribute largely toward putting the study of English 
literature upon a sound basis ; and many an adult reader would find in 
the present volume an excellent opportunity for becoming critically ac- 
quainted with one of the greatest of last century's poets. — Appleton's 
Journal, N. Y. 



Published by HARPER & BROTHERS, New York. 

Sent by mail, postage prepaid, to any part of the United States, on receipt of 
the &rice. 



THOMAS GRAY. 

SELECT POEMS OF THOMAS GRAY. Edited, with 
Notes, by William J. Rolfe, A.M., formerly Head 
Master of the High School, Cambridge, Mass. Illus- 
trated. Square i6mo, Paper, 40 cents ; Cloth, 56 cents. 
(Uniform with Rolfe 's Shakespeare.) 



Mr. Rolfe has done his work in a manner that comes as near to per- 
fection as man can approach. He knows his subject so well that he is 
competent to instruct all in it ; and readers will find an immense amount 
of knowledge in his elegant volume, all set forth in the most admirable 
order, and breathing the most liberal and enlightened spirit, he being a 
warm appreciator of the divinity of genius. — Boston Traveller. 

The great merit of these books lies in their carefully-edited text, and in 
the fulness of their explanatory notes. Mr. Rolfe is not satisfied with 
simply expounding, but he explores the entire field of English literature, 
and therefrom gathers a multitude of illustrations that are interesting in 
themselves and valuable as a commentary on the text. He not only in- 
structs, but stimulates his readers to fresh exertion ; and it is this stimu- 
lation that makes his labors so productive in the school-room. — Saturday 
Evening Gazette, Boston. 

Mr. William J. Rolfe, to whom English literature is largely indebted 
for annotated and richly-illustrated editions of several of Shakespeare's 
Plays, has treated the " Select Poems of Thomas Gray " in the same way 
— just as he had previously dealt with the best of Goldsmith's poems. — 
The Press, Phila. 

Mr. Rolfe's edition of Thomas Gray's select poems is marked by the 
same discriminating taste as his other classics. — Springfield Republican. 

Mr. Rolfe's rare abilities as a teacher and his fine scholarly tastes ena- 
ble him to prepare a classic like this in the best manner for school use. 
There could be no better exercise for the advanced classes in our schools 
than the critical study of our best authors, and the volumes that Mr. Rolfe 
has prepared will hasten the time when the study of mere form will give 
place to the study of the spirit of our literature. — Louisville Courier- 
Journal . 

An elegant and scholarly little volume. — Christian Intelligencer, N. Y. 



Published by HARPER & BROTHERS, New York. 

Sent by mail, postage prepaid, to any part of the United States, on receipt of the 
price and one sixth additional for postage. 



